Concerts seldom begin with overtures these days. Rimsky’s Overture for Ivan the Terrible which opens this Chandos collection would grace any concert, a memorable, concise, dramatically atmospheric piece with strong Russian themes. The Tsar’s Bride, as befits its title, is lighter in texture but has a lyrical string melody which returns in a richly scored apotheosis. The composer was vague about the programme of the Legend, whimsically mentioning a cat walking around an oak tree, which is charmingly suggested momentarily on the flute. Later he declared the listener should use his own imagination in responding to a four-section work which has much of the exoticism of Sheherazade plus touches of melodrama and an engaging fund of invention.

The Sinfonietta on Russian Themes originated as a string quartet but gains much from Rimsky’s vivid scoring. The ideas of the first movement are developed instrumentally rather than symphonically, but with characteristic charm; however, without its original finale (which the composer abandoned) it ends with a rather lightwight ostinato Scherzo. This grows out of the relatively straightforward variations slow movement. The Neapolitan Song is an endearing and infectious fantasy based on Denza’s “Funiculi funicula”.

The familiar Capriccio espagnole is also splendidly presented: Sinaisky’s performance is expansive, warmly relaxed, but without quite the concentrated grip of the other works, although the closing Fandango produces a burst of exhilarating bravura. I am indebted to John Warrack’s notes, which are all one could wish for: much of this music is unfamiliar and seldom heard or recently recorded.