Lutoslawski’s Dance Preludes for clarinet 
          and piano were composed in 1954 and the orchestral version for small 
          orchestra recorded here was made by the composer in 1955. This well-known 
          and popular piece is a typical product of Lutoslawski’s attitude during 
          the painful Stalinist years in Poland. He chose to compose folk-inspired 
          music rather than comply with the Socialist Realism’s dictates. The 
          peak of his output of that period is the magnificent Concerto 
          for Orchestra of 1954. In any version, Dance Preludes 
          is a delightful, folksy piece that has since become highly popular, 
          and quite deservedly so. 
        
 
        
The music of Seiber is still too little-known nowadays 
          although some of his late major works were recorded by Decca many years 
          ago during the LP era (some of these recordings have been re-issued 
          on Continuum). The Concertino for Clarinet and String Orchestra 
          is the only one so far that has been recorded more than once. (Another 
          recording was issued by RCA in 1977.) Originally written as a clarinet 
          quintet in 1928, it was arranged for string orchestra in 1951. It is 
          also a folk-inspired piece that brings Kodaly or Lajtha rather than 
          Bartók to mind. It is a hugely enjoyable piece, and it is good 
          to have this fine performance available again. 
        
 
        
Howard Blake is a versatile composer who may be better 
          known for his marvellous film scores The Snowman and Granpa 
          in which his gifts for colourful orchestration and memorable tunes are 
          clearly evident. He nevertheless also composed a good deal of concert 
          works including the superb choral-orchestral Benedictus 
          and several concertos. Though the intent is overtly more serious, the 
          music of the Clarinet Concerto of 1984 is still memorably 
          tuneful, superbly scored and quite attractive. The Clarinet Concerto 
          is in every respect a fine work that deserves wider currency, and Thea 
          King’s advocacy should earn this fine piece many new friends, hopefully 
          among clarinettists. 
        
 
        
An attractive programme, superbly performed and recorded. 
          If you did not get it when it was first released, you now have no reason 
          to ignore it, especially at the customer-friendly bargain price of the 
          Helios re-issues. 
        
 
        
        
Hubert Culot