This irresistible album of English string music has an air of freshness and sense of individuality. It is hard not to rave about Chandos’ collaboration with John Wilson’s Sinfonia of London; each release from this team has a distinctive elegance and sophistication - this is no exception.

It's a disc that once again showcases the superb musicality of the London Sinfonia's string section with overwhelming musical performances as in their 2022 release: Classical Music Album: Metamorphosen

Throughout, the playing is meticulous, the attention to detail shines through with striking precision and impressively resonant playing, superb phrasing and characteristic elan that we have come to expect from the orchestra.

From start to finish the beguiling string section is on its usual top form with these rhythmically vibrant and marvellously coloured performances.

The control and intensity is tangible in Vaughan Williams’ masterpiece, Fantasia on a theme of Thomas Tallis. The work is so often heard but this recording gives it a different dimension, one of newness as it glows with luminous warmth; the diminuendos and soft playing are sublime and graceful. Andrew Burn’s notes detail how Gloucester Cathedral organist, Herbert Brewer, described the work as ‘a queer mad work by an odd fellow from Chelsea.’ Well, I wonder what the section of classical music fans who place it in the top 3 of Classic Fm's annual survey of our musical tastes think?

Burn also includes a snippet from the Radio Times on the occasion of the premier of Howells’ 1938 Concerto for String Orchestra: ‘it was inspired by the countryside between the Malverns and Cotswolds, and by two people – one old and one young – who knew and loved that part of England', alluding to Elgar and Howells’ son Michael. Wilson and his strings give a compelling performance and there are influences of RVW and Elgar. It has a glorious and elegiac slow moment interpolated between the two outer movements which have rhythmic buoyancy and dissonance.

A highlight is Delius’ Late Swallows, arranged from the slow movement of his String Quartet by his amanuensis, Eric Fenby; a short work only nine minutes but containing some beautiful moments.

To conclude, there is a spirited performance of Elgar’s ground-breaking Introduction and Allegro, inspired by the baroque concerto grosso, which features a solo string quartet contrasted with the full symphonic string section. Once again exemplary in execution with well-shaped phrases and a performance that is persuasive, invigorating and powerful.

This is a sumptuous and ravishing new release with string playing that has an exuberant and fervent richness conveyed through the skill and brilliance of the sound engineers.