Pupil of Moszkowski and d’Indy, Cuban-born Joaquin Nin (1879-1949) was not a prolific composer. What he did produce had a lean, often agile quality, spare and free of unnecessary ornamentation. A Spanish/Cuban influence is never very far from the surface here although Nin treats his material with an admirable directness and lack of pretention. Unwin’s clean, concise, idiomatically alert accounts prove rather attractive advocates of a lively if occasionally lightweight repertoire.'