Alison Balsom’s latest disc Seraph features bespoke works for trumpet written in the 20th and 21st centuries and marks an exciting shift in her career. The title work, James MacMillan’s Seraph, a concertino for trumpet and strings, was co-commissioned by the Scottish Ensemble and Perth Concert Hall and was premiered by its dedicatee (Balsom) at the Wigmore Hall in February last year. It is a concise and charming work and as Balsom writes: ‘MacMillan was a trumpet player at one stage in his life so he has a soft spot for the instrument. I think he also recognised that the trumpet has many sides to its character. His first concerto explores one particular side, the heroic. Seraph is often playful in expression and genuinely beautiful in its meditative slow movement.’ An attractive amuse bouche is then provided by Takemitsu’s Paths for solo trumpet that is characteristically minimal in texture with a dialogue between muted and non-muted trumpet. The mighty concerto by Arutiunian follows and as Balsom reflects ‘Although the concerto contains moments of lyrical reflection, it is an unashamed showpiece’. The musical language owes much to the influence of Armenian folk music and the composer provides plenty of contrast in style and mood. Balsom puts her stamp on the work, always playing with enviable control and delicacy where needed and letting rip where appropriate! The disc concludes with Zimmermann’s Nobody knows de trouble I see, a work written in 1955 and based on the African-American spiritual as a reaction against the racial hatred that was still evident in post-war Germany at the time. He deconstructs the spiritual into a 12-note theme that is interwoven throughout the orchestra and is infused with jazz in parts, with a particularly poignant ending. This is an impressive and refreshing release from this superlative musician.

Reviewed by Dawn Gibson