The three-minute miniature first movement is derived almost entirely from the catchy one-bar falling motif we hear at the outset, which recurs again and again. This generates the lyrical slow theme which follows, briefly given telling emotion as a high violin solo. The music is given an almost Gallic elegance and wit by the constant chromatic changes and the dry insouciance of the presentation.
The following slow movement is notable for the chiselled lines of the piano writing, at first just a single line in either hand but given sudden warmth by the unexpected arpeggiated accompaniment. Towards the end the music increases in tempo as the piano has a miniature cadenza before the reflective close.
The finale rolls scherzo and finale into one with a skittish neo-classical movement in which the piano writing is notably clean, eschewing warm harmonies or classical piano figurations, but consisting of a rhythmic piano line in two parts, occasionally harmonised in fourths and octaves. This gives a dry and objective sound-world, brief and to the point, in which all is over and done in under three minutes.
from notes by Lewis Foreman © 2002
'Altogether this is a wholly delectable disc of spirited miniature concertos where the composers are never let down by paucity of invention. Performan ...
'Roscoe and the Guildhall Strings have put together an attractive collection here' (American Record Guide)» More