William Henry Reed was leader of the London Symphony Orchestra from 1912 to 1935, a Professor of the Violin at the Royal College of Music and a composer – rather like Kreisler – of eclectic but very well-written music in which the violin (or viola) took the leading role. Many of these pieces are romantic trifles, but the more substantial works here include a fine pair of Rhapsodies and a light-hearted, dancing Andante tranquillo, each of which has a beguiling, easy-going lyrical charm and shows genuine musical craftsmanship. The more ambitious (aptly named) Fantaisie brilliante, with its engaging central Andante and bravura moto perpetuo finale was dedicated to Reed’s teacher, Emile Sauret.

His talented pupil showed a genuine if slight Romantic melodic gift and an easy fluency in the technique of writing for his own instrument. He helped Elgar – who become his friend – by giving advice about violin figuration for Elgar’s concerto and chamber music. He also composed light ‘salon’ music for orchestra, much of which was premièred by Henry Wood during his early Proms at the Queen’s Hall, and most of Reed’s musical manuscripts are stored in the RCM Library.

The advocacy of the sweet-toned Robert Gibbs partnered by Mary Mei-Loc Wu (who is by no means just an accompanist) is very persuasive throughout this programme and they play the longer works with conviction and stylish spontaneity. But the genre pieces are often appealing, too, and thrown off with aplomb. The Toccata has a cascading Elgarian felicity, the Chinese Impressions are quaint without being caricatures, the Punjabi Song is quite haunting and the Luddi Dance very catchy. Excellent recording, too, natural and very well balanced.