Despite a long and distinguished heritage in Central and Eastern Europe, the mandolin has never really caught on further west. Hummel, Mahler and Webern all wrote for it, though few, aside from mandolin performers perhaps, have composed as much or in as many genres as Hans Gál.

The concept of a mandolin orchestra may seem exotic to western ears but it has a well-established tradition. The typical layout mimics that of the string orchestra, with two sets of mandolins, one of the alto instrument, and another of mandolon-cellos, to which is added double-basses and, occasionally, guitars and harp. It is for such a group that Gál wrote the four Biedermeier Dances in 1954 (a fifth was discarded), although whether he scored the work himself is the matter of some doubt. The dances are short and lively and the jangly sound of the orchestra that immediately hits one soon seems entirely natural. In the Sinfonietta (1961) it is the musical strengths – rather than the instrumental sonority – that strike one straight off. At 24 minutes, in the four-movement design of a classical symphony, it is the largest in scale of the compositions here, its subtlety of construction matched by the music’s charm. Curiously, the attractive Scherzino was not part of the original conception but added later. The Baden Mandolin Orchestra play both works superbly.

Perhaps the most beautiful music here lies in the Divertimento for mandolin and harp from 1958, a delightful sequence of ‘Prelude’, ‘Burla’, ‘Intermezzo’ and ‘Rondo’. After it, the other Divertimento for a trio of two recorders and guitar seems rather slight, though it is performed with equal élan. Antes’s sound, produced by Simon Fox-Gál, is nicely clear and bright. Great fun.