This thoroughly worthwhile collection of first­rate British ballet music is aptly centred on the distinguished dancer‚ impresario‚ teacher and choreographer‚ Dame Ninette de Valois. When ‘Madam’ started work on Checkmate in the 1930s‚ she had never played chess and had to be taught the characteristic moves of the pieces! They certainly drew from Bliss some of his most rhythmically characterful music: witness the flair of the ‘Red Knight’s Mazurka’ and the splendidly regal finale. I had not heard Gavin Gordon’s complete score for The Rake’s Progress before‚ and how attractive it is – engagingly orchestrated and full of good tunes. ‘The Reception’ is delightful‚ and the gusto of ‘The Orgy’ has a gallic flair. The portrait of ‘The Faithful Girl’ is most touching‚ while the closing‚ extended ‘Mad House’ sequence is full of imaginative‚ sometimes bizarre invention‚ and at times reminds one of Walton’s Façade. I had not realised either‚ that Geoffrey Toye’s charming ‘Haunted Ballroom’ waltz was the highlight of a melodramatic ballet‚ about a curse where mystic voices urge the participants into a dance which can only be ended by death‚ complete with tolling bells. On the other hand Constant Lambert’s Prospect Before Us – elegant‚ graceful music – is arranged from Boyce‚ but tastefully orchestrated and sounding rather like Handel­Beecham. Barry Wordsworth worked with de Valois on both The Rake’s Progress and Checkmate‚ and his affectionately spirited performances could hardly be bettered. The recording is fresh and bright rather than rich and resonant‚ but just right for the music.