''Containing no less [sic] than three world premiere recordings'' (I think Conifer mean ''no fewer'') runs the publicity but two of them turn out to be transcriptions: the concerto is none other than an arrangement for flute and orchestra by Christopher Palmer of the D major Sonata, Op. 94; the Humoresque scherzo for four bassoons is a transcription of No. 9 of the Ten pieces for piano, Op. 12, which Prokofiev himself made. The Op. 115 Sonata for unaccompanied violins has of course been recorded quite often as a solo piece. However, if you look up Nestyev's list of works you find it was originally for ''unaccompanied violins'' and (to quote him) ''prompted by the practice of groups of Soviet violinists playing in unison certain works by Bach, Handel and other composers. Such ensembles of 20 to 30 Soviet young artists often performed at concerts given on festive occasions at the Bolshoi Theatre''. Christopher Palmer is absolutely right to remind us in his excellent note that the writing is not in itself demanding, but conceived for players whose level of technical accomplishment would inevitably vary considerably. He speaks of its unique ''lustre of sound'' and I must say that its overall character is quite changed when heard with two-dozen or so players.
So for that matter is the Flute Sonata, better known these days in the violin version Prokofiev prepared for David Oistrakh. As Christopher Palmer puts it, ''Of course, the character of the accompaniment is modified when translated into the more public medium of the Orchestra; but it is not, I hope, injured [his italics] in any way''. Palmer scores with expertise and taste, and is completely inside the idiom. All the same a sonata for two players does not become a concerto just because it is orchestrated; for while the element of display is present in the flute part, there is none of what Tovey called ''the antithesis of the individual and the crowd'' that is the hallmark of the concerto, no dramatic tension between the two forces. (When Weingartner orchestrated the Hammerklavier Sonata, he did not call it the Hammerklavier Symphony, and this is not a concerto.) The orchestra prettily accompanies the solo flautist—very prettily, I should say, and Jonathan Snowden's playing is brilliant. If you want to hear this delightful, Arcadian work dressed up, I am sure it could not be better done than it is here. I intend no disrespect to those concerned, but when I return to this piece, it will not be in this form.
Two other pieces complete the disc, the Overture on Hebrew themes in its orchestral form (Prokofiev first scored it for six instruments)—very well played incidentally, and the Classical Symphony. The first movement is a rather measured allegro and a bit too sedate for my taste but I have to say that there is plenty of vitality and character about the playing. The Larghetto also starts off at a rather broader tempo than usual, but these questions are inevitably matters of personal taste and Mark Stephenson's reading has the merit of being carefully prepared and well-thought out and the finale seems to me well judged both in tempo and character. The recording, made at Watford Town Hall, is very natural and well-balanced.
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