The bold opening chords and immediately following crescendo of the D major Symphony, Op.3/2 (from the early 1750s) immediately established its Mannheim credentials, as do the elegantly sophisticated scoring of the Andantino and the effective use of horns in the Minuet and Trio. E flat Symphony, one of the composer’s last, follows a similar pattern, but the three earlier works (from the 1740s), which are actually designated as ‘Mannheim’ Symphonies are altogether simpler, each with only three movements.

New Zealand composer Gareth Farr wrote his cello concerto after discovering some family history. His three great uncles left New Zealand to fight in France in World War I. All three were killed within weeks of arrival. Farr’s concerto is instantly accessible and is a dramatic and emotional statement.

Ralph Vaughan Williams (1872-1958) may not have begun the trend toward English pastoral music in the early twentieth century, but he was certainly one of the movement’s leading practitioners. Starting as early as 1900 with his aptly named Bucolic Suite, the man continued to produce charming, serene, idyllic tunes for full orchestra, strings, and chorus right up until the time of his death. In this Naxos collection, English conductor James Judd leads the New Zealand Symphony Orchestra in some of the composer’s most famous short works.

Both works on this the third volume in Koch’s superb series of Rozsa’s orchestral music were inspired by suggestions from the cellist Gregor Piatigorsky, the Op. 29 (1966) being a direct commission for a double concerto for himself and Jascha Heifetz. Despite having to juggle with the temperamental demands of his two eminent soloists, both of whom would object if the spotlight seemed to be favouring one instrument more than the other (which probably explains why Rozsa reduced the piece by over ten minutes following its poorly received premiere in Chicago under Jean Martinon), the resulting showcase, with its passionate opening movement and highly rhythmic finale, is further evidence of the composer’s abiding affection for his native Hungary.