Steven Osborne has a knack for bringing to life music that in other hands can seem dry or unapproachable. His recording of Tippet’s piano music (released last year) was a revelation; not surprisingly, it has been shortlisted for a Gramophone award. Osborne’s journey into little-explored territory continues with his latest disc, which features Britten’s music for piano and orchestra. The three works comprise Young Apollo, a seven-minute fanfare for piano, string quartet and string orchestra; the Piano Concerto in D major in its revised version; and Diversions, a concerto-like work for left hand alone and orchestra. All three works were initially composed between 1938 and 1940, making Britten the third composer in that decade to have produced a two-hand and a left-hand concerto at broadly the same time. (The others were Ravel and Prokofiev.) Each work was later revised in some way: the Piano Concerto received a new third movement in 1945, Diversions was revised in 1954 before its first commercial recording, and Young Apollo was withdrawn altogether, with no explanation. Certainly, the fact that this fanfare’s tonality is A major throughout is a restriction – but it’s fascinating to hear how Britten manages to vary the music within this constraint, with grand flourishes and sweeping glissandi on strings and piano as well as more reflective moments. Diversions consists of a short Theme followed by ten named Variations, reminiscent of études in their construction and variety. The tenth variation is a longer, powerful Adagio, leading into a Tarantella finale. But by far the most substantial work featured is the Piano Concerto. From the dazzling brilliance of the opening Toccata to the dramatic and extrovert closing March, orchestra and pianist never flag. There are some splendid moments for the brass section, and Volkov galvanizes his forces to produce a spectacularly energetic first movement – yet Osborne still manages to fit in all the notes. The second movement is a slightly grotesque Waltz that conjures images of swaying camels before gathering speed, while the Impromptu third movement is a series of variations that uses the percussion section to interesting effect. The final March puts the orchestra as much in the limelight as the pianist. The original third movement, Recitative and Aria, a freer piece of writing that climaxes with a big romantic tune for the strings, can be heard on an additional track. Throughout the disc, Osborne plays with crystalline clarity and impeccable musicianship. Highly recommended!

Reviewed by Anne McAlister