This is the debut recording of the C/O Chamber Orchestra, an ensemble of 30 players from across Europe based in Berlin. Although the group performs without a conductor, there’s no want of accuracy and incisiveness in Ibert’s riotous Divertissement. Indeed, the playing in the opening two movements is almost too refined, missing something of the exuberance and humour that makes Martinon’s classic recording so attractive (Decca, 1/61). The Nocturne, however, conveys a keen sense of atmosphere, and the parodistic elements of the Valse and the Parade are strongly projected, as is the exuberance of the finale.

The works by Émile Bernard (1843-1902) and Michael Ippolito (b1985) offer a further demonstration of the ensemble’s versatility and musicality. The former, scored for double wind quintet, is a delightful three-movement piece that evokes the spirit of Mendelssohn and Humperdinck. The latter, composed at the request of the orchestra, is rich in melodic and rhythmic inventiveness and scored with precision and restraint. Both are given lithe and sympathetic performances.

The orchestra’s focused and intense interpretation of Bartók’s Divertimento bears comparison with any. The first movement’s frequent changes of metre and dynamics are adroitly navigated and the management of pacing, balance and sonority in the Molto adagio is especially impressive given the absence of a conductor. The finale opens at a cracking pace and details such as the trilling sforzando violas in bar 55 are superbly articulated. Throughout, the impression is of an orchestra superbly at one with the score. The antiphonally placed violins, wide stereo spread and warm acoustic add to the immersiveness of the performance. With an informative booklet note supplied by Ippolito, the C/O Chamber Orchestra’s first release is a very attractive proposition.