My favourite versions of these oft-recorded works for string orchestra are all lush-toned and deeply expressive (see above), which perhaps explains why I was initially unimpressed by the Rotterdam CO’s pristine though relatively understated interpretations. Further listening has revealed a great deal to admire and enjoy, however.

First and foremost, there’s the playing of the orchestra. Founded in 2000 (by conductor Conrad van Alphen and violinist Makiko Hirayama), this is a very young outfit, but how tight the ensemble is, and what a lovely sound they produce. Listen to the warm glow given off in the opening Moderato movement of the Dvorák, or to the dewy delicacy of the third movement of the Elgar. In the Air from Grieg’s Holberg Suite, I miss the dark, almost throaty, singing tone of the Berlin Philharmonic violins; the Rotterdam orchestra create a nice play of light and shade, albeit at a lower level of intensity. The Larghetto of the Dvorák is also rather low-key, and although some might argue that this is entirely appropriate for a serenade (it’s not a symphony, after all), I find the result a bit too discreet. On the other hand, the Larghetto of the Elgar is beautifully done; expressive and elegant, the melodies float in quietly sustained, fluid lines from beginning to end.

Telarc’s recording provides plenty of air around the ensemble but is close enough so that one can hear all the inner voices clearly. This disc has given me increasing pleasure over the past few weeks, and certainly anyone looking for this particular (and happy) coupling should not hesitate.