Lilting melodies and exhilarating dance rhythms; gentle pathos, brooding drama and robust high spirits; the spirit of rural Bohemia and the sophistication of Prague, Vienna, New York and London in the late 19th century: Antonin Dvořák’s music is unfailingly distinctive and captivating. In all his works – from the epic ‘New World’ Symphony and Cello Concerto to the irresistible Slavonic Dances, haunting ‘American’ String Quartet, quirky violin Humoresque and yearning Song to the Moon – he is a composer whose heart is open and generous, and whose love for his homeland always shines through. This box provides an illuminating and enriching survey of his works, including his complete symphonies. A number of the celebrated performers have Slavonic roots themselves; all their interpretations draw on a deep affinity with Dvořák’s inspiration and humanity.

The Lindsay Quartet have set a high standard of Tippett interpretation, with that special authority that stems from working on the music with the composer. Whatever else Tippett has done, he has not inhibited these players: their performances are characterized by a distinctive freshness and spontaneity, a well-balanced homogeneity of texture and a fine sense of rhythmic flow, essential if the music is not to coagulate around its multitude of contrapuntal details.

Benjamin Britten (1913-76) was one of the most precocious of all composers who have the term child prodigy attached to them. Britten showed a keen interest in music from a very early age – both as a pianist and composer. He would become a formidable pianist, but as remarkable as his early compositions are (he had composed 6 string quartets by the age of 12!), very few people, including Frank Bridge could predict that he would become the 20th centuries greatest opera composers.