A charming and unusual disc though not one to play through continuously (I suggest) at one sitting. The love songs are modinhas – ‘Portuguese and Brazilian sentimental art songs cultivated in the 18th and 19th centuries’ (New Grove). The ‘Romantic Age’ of the title refers roughly to 1790-1840. Structurally, melodically and harmonically, the songs are simple, conventional, too, in the sentiments they express; yet the delicate idiom places them in the salon, rather than as popular or folk music.

Two in the present selection have melodies from Bellini’s Norma (those of the trio ‘Oh! Di qual sei tu vittima’ and duet ‘Deh! Con te li prendi’) and do not sound out of keeping with the others. Perhaps some are nearer to the café song, and that affinity is mentioned in the introductory notes by David Chernaik (also responsible for the arrangements). Oddly, although his intention was to ‘give a flavour’ of this, I rather think that it may be the ‘flavour’ of the chamber group (string quartet with flute and double bass) that places the songs most firmly within the salon. Originally the singer would have been accompanied mostly by guitar, which would allow more freedom and perhaps more play of personality and intimacy; what we have here is charming, but very decorous, rather impersonal and somewhat lacking in variety.

In Anderson they have a singer with a delightfully warm, evenly produced voice, smilingly engaged, technically assured, and performing always within the limits of cool moderation. The Apollo chamber Players (with Chernaik as cellist and director) give stylish support, and the recorded balance with the voice is ideal.

What I can’t reconcile easily is the effect of the songs as I hear them now and the swooning raptures of William Beckford. The gothic revivalist and author of Vathek heard them on his travels and found they caused ‘the soul panting to fly out of you and incorporate itself with the beloved object’. Not in Woodland Avenue they don’t.