Avie’s rehabilitation of Hans Gál (1890-1987) continues in handsome fashion with a superb first recording of his Cello Concerto. Written, for the most part, in 1944, this is a deeply thoughtful, songful and patiently argued work, scored with a frequently chamber-like delicacy, and whose immaculate craft, tasteful restraint and seam of wistful nostalgia call to mind the late concertante offerings of Richard Strauss (who, in 1929, had recommended Gál for the post of director of the Mainz Conservatory). Truth to tell, it takes a number of hearings to appreciate fully its strength of personality, deceptive rigour and many other subtle virtues. Fortunately, it could hardly be more eloquently served than here: the commanding Brazilian virtuoso Antonio Meneses surmounts every hurdle with ease and he is backed to the hilt by his compatriot Claudio Cruz at the helm of a notably alert Northern Sinfonia.

A genuine find, then, and it comes harnessed to the third version of Elgar’s Cello Concerto to have come my way in almost as many months. Like Jian Wang and Paul Watkins before him, Meneses proves an immensely assured, big-hearted protagonist, and he forges a winningly characterful partnership with Cruz and the Northern Sinfonia. Personally speaking, I prefer both the slow movement and the finale’s ineffably touching reminiscences from the poco più lento marking at fig 66 (6'25") to move on just a fraction more (Watkins and Sir Andrew Davis come close to the ideal), but these are highly subjective matters and shouldn’t deter anyone from investigating what is a hugely sympathetic and impressively stylish display. Boasting crystal-clear yet warm-toned sound, this enterprising issue can be welcomed with open arms.