Brian Brockless (1926-95), London-born and -bred, was a conductor, organist, teacher and composer whose career embraced orchestral performance, sacred music, musical education and the revival of Renaissance polyphony. After studying with Herbert Howells, Matyas Seiber and Sergiu Celibidache, he taught harmony and orchestration at the Royal Academy of Music and served for many years as Director of Music at a City of London church. This album - the first recorded survey of his music - ranges from works for string orchestra and piano to songs, sacred vocal music and music for organ, most of them prepared from unpublished manuscripts. The music as a whole is marked by an essential Englishness, one which looks to earlier traditions and also reflects the modernity of the second half of the twentieth century.

The Portuguese composer Fernando Lopes Graca (1906-94) was one of the thousands of victims of Salazar's right-wing dictatorship: his works were confiscated, and he was prohibited from teaching. He responded in music, with a prolific output inspired by both folk-music and the evolving musical language of his European contemporaries, marrying tradition and modernism. His songs for voice and piano set texts from both popular and 'high' culture, unified by his ardent humanist outlook and the dignified manner in which he expressed it.

Martin Eastick (b. 1957) has a reputation as an authority on some of the most obscure piano music of the nineteenth century: his south London home is a repository of a vast number of rare scores. But even those who consult him for advice on repertoire are generally unaware that he is himself a composer, his handful of compositions reflecting his fondness for the music of the 'Golden Age' pianist-composers whom he admires, from Chopin and Czerny to Godowsky and Paderewski, just sometimes with a hint of jazz - it's overt and timeless charm belying it's fearsome difficulty.

The Hamburg-born Ferdinand Thieriot (1838-1919) not only shared a teacher - Eduard Marxsen - with Brahms; both composers, who remained friends in later years, use a very similar musical language. The musicologist Wilhelm Altmann wrote that 'Thieriot's chamber music is without exception noble and pure. He writes with perfect command of form and expression' - as the works on this fifth Toccata Classics volume prove, in their exquisite balance of depth and beauty, of Brahmsian richness and Schubertian spontaneity. Thieriot's Op. 62 Octet for winds and strings brings one gorgeous tune after another, but it's the Op. 78 Octet for strings - here in it's first recording - that will astonish: in it's blend of melodic profusion and effortless counterpoint it is hardly less impressive than Mendelssohn's exemplar.

Joseph Woelfl (1773-1812), a friend of the Mozart family from childhood, was one of the bestknown musicians of his day: he was regarded as a rival of Beethoven in Vienna and a worthy successor to Haydn in the musical life of London. When the invention of the pedal harp around 1800 allowed it to be used in combination with the piano, Woelfl was one of the many composers who took advantage of the new sonorities now made possible, in a series of works noteworthy for their elegance and charm, in a style which bridges the Classical and Romantic.

Caspar Diethelm (1926-97) was one of the leading Swiss composers of the twentieth century. His free-tonal style - angular yet accessible - drew on the inheritance of several of his predecessors, above all Hindemith, Honegger (both of whom were his teachers), Martin and Schoeck, with Bartók adding rhythmic spice. These influences he combined with an awareness of modernism to form an individual and expressive musical language of his own. These chamber works for clarinet, covering over thirty years of creativity, are variously informed by lyrical tenderness, ironic humour, a dark sense of drama, edgy energy and light-hearted playfulness. Largely unknown until now, they constitute a major addition to the clarinettist's repertoire.

Giuseppe Cambini, born in Italy in 1746 and based for most of his life in Paris, left so much fine music - over 600 compositions - that it is surprising that the year and place of his death remain uncertain. Among that huge output are over 100 string quintets using a second cello rather than another viola, giving them an unusually rich sonority. Cambini's elegant melodic manner and his spontaneous counterpoint help explain why his chamber music was so popular during his lifetime - but not why it has been forgotten since then: it's refreshingly natural style has something of Mozart's tunefulness and Haydn's bright craftsmanship, and it's more thoughtful moments occasionally look ahead to Beethoven.

Caspar Diethelm (1926-97) was one of the leading Swiss composers of the twentieth century. His free-tonal style - angular yet accessible - drew on the inheritance of several of his predecessors, above all Hindemith, Honegger (both of whom were his teachers), Martin and Schoeck, with Bartok adding rhythmic spice. These influences he combined with an awareness of modernism to form an individual and expressive musical language of his own. The three concertos recorded here are remarkable for the striking clarity of their orchestral textures; they also exhibit Diethelm's fondness for enlivening his narratives with surges of energy and touches of gleeful humour.

For the middle decades of the twentieth century Cedric Thorpe Davie (1913-83) was a mainstay of musical life in Britain - and in Scotland in particular - as an administrator, academic, choral director and, especially, composer. His many film scores brought him a wide audience, but the orchestral works he wrote for the concert hall are as good as unknown. The five works heard here, all in their first recordings, reveal craftsmanship of a high order and a natural melodic gift, in a style anchored in the soundworlds of Sibelius and Vaughan Williams - both of whom he knew personally - combined with a Scottish accent that gives this music a unique personal voice.

Many composers who wrote primarily for the English cathedral tradition have not had the recognition they deserve outside that cloistered world. Tony Hewitt-Jones (1926-89) is one such. Although the choral and organ works heard on this album naturally respond to the requirements of the performers for whom he was writing, they have a freshness, energy and individuality that transcend their origin, their sound-world overlapping with that of some of his close contemporaries, like John Gardner, Kenneth Leighton and William Mathias.

In this album two Swiss musicians - the cellist Andreas Graf and pianist Evelyne Grandy - transform what is essentially a song recital into a programme of lyrical miniatures for cello and piano. They thread their own arrangements of melodies by five fellow Swiss composers through some unfamiliar versions of well-known tunes, casting some long-standing favourites in new light and setting them alongside new delicacies.

Classical music in Australia is barely two centuries old, and many of it's riches remain as good as unknown, both at home and abroad. This album of chamber music featuring the horn - itself a largely unfamiliar genre - charts the evolution of Australian music in microcosm, from Romanticism via modernism to a sound suggesting the open space of the outback. This repertoire is as good as unknown at home and further afield, though all of it has personality and presence, and should prove of interest to the international horn-playing community and to audiences more generally.

The Rieger organ recently installed in the Musiikkitalo (Music Center) in Helsinki is the largest modern concert-hall organ in the world. In it's first-ever solo recording Jan Lehtola puts the instrument through it's paces. His unusual programme consists of nine sets of variations on Christmas melodies by four French composers, one Franco-Lebanese and an Englishman using what is probably the only well-known Ukrainian tune. The meeting of old and new in these variations shows off the splendours of the new instrument, the virtuosic writing ranging from gossamer delicacy and sumptuous harmonies to statements of colossal power.

In 1719 the aristocratic Schwarzenberg family inherited the huge castle of Ceský Krumlov in south-western Bohemia, reviving it's distinguished but dormant musical tradition with a new ensemble of two oboes, two cors anglais, two bassoons and two horns, active from 1771 onwards. These musicians soon provided the foundation for a wave of chamber music featuring double-reed woodwind instruments that flourished as the instruments improved. It reached it's peak of popularity in Vienna in the last two decades of the century, but has remained largely unknown since then. This series unites past and present by combining some of the scores researched in the Ceský Krumlov archives (including a 1799 handwritten copy of Beethoven's 1794 C major oboe trio, which suggests it was a Schwarzenberg commission) with works composed more recently - mainly by oboe-playing composers.

Most guitar recitals emphasise the vigorous Spanish and Latin American heritage of the instrument. This album takes a different approach, travelling round the fringes of Europe, with music from Albania, Estonia, France, Serbia, Greece and the British Isles, these largely lyrical works chosen because they were inspired by issues and events that underline the dignity of the human condition. They allude to a surprisingly wide range of subjects: peace-time reconciliation, love and loss, ethnic identity, personal courage, environmental degradation and bittersweet recollections of childhood - in music for calm reflection.

In the days before recorded sound, people usually learned their orchestral music at home, playing it in piaIn the days before recorded sound, people usually learned their orchestral music at home, playing it in piano transcriptions for two or four hands. Two German-Jewish composers took that idea a stage further: Ignaz Moscheles, protege of Beethoven, wrote a symphony for four hands at a single keyboard, and Ferdinand Hiller, friend of Berlioz, Chopin and Liszt, went a step further, following Moscheles' symphony without an orchestra with an opera without singers - both works bold genre-busters well before the term had even been invented. No transcriptions for two or four hands. Two German-Jewish composers took that idea a stage further: Ignaz Moscheles, protege of Beethoven, wrote a symphony for four hands at a single keyboard, and Ferdinand Hiller, friend of Berlioz, Chopin and Liszt, went a step further, following Moscheles' symphony without an orchestra with an opera without singers - both works bold genre-busters well before the term had even been invented.

The music of Douglas Gordon Weiland - born, like Elgar, in Worcestershire, in 1954 - is one of the better-kept secrets of British musical life: very little of his substantial catalogue of orchestral, chamber and choral works has been recorded. This first volume in a projected series reveals a composer with an individual musical language, an angular lyricism informed by echoes of Elgar, Vaughan Williams and Frank Martin, it's quieter moments having something of the autumn elegance of late Brahms and it's more propulsive passages the energy and rough humour of Nielsen and Robert Simpson. Weiland was himself a professional violinist for some years, moreover, and he writes for the instrument with deep understanding.

The Polish composer Moritz Moszkowski (1854-1925) is best remembered for a handful of virtuoso piano pieces, but he also produced a substantial body of orchestral music, most of it unperformed for a century or more. This fourth volume presents his only symphony, a strikingly assured work for a composer in his late teens. Unsurprisingly, it owes a good deal to Schumann in it's dancing rhythms, heraldic bearing and orchestral colours - and the Scherzo might almost be by Mendelssohn on holiday in Poland. The 'Six Episodes' - charming, ingratiating and energising by turn - are all that remain of the lost full-length ballet Laurin. They were saved because Moszkowski excerpted them for concert performance, thereby creating a 'Dance Suite' in all but name.

In 1776, during a spell in Italy early in his career, the Ukrainian composer Dmytro Bortniansky (1751-1825) wrote Creonte, an opera seria based on Sophocles' tragedy Antigone and poised, like early Mozart, on the cusp between Baroque and Classical styles. Although a success in it's day, Creonte then vanished for 250 years, until it was discovered by chance in a Portuguese library. It may have been hidden there because it's tale of love versus power ends with a surprising democratic twist - a daring move in those autocratic times. Since it is the first surviving opera by a Ukrainian composer, it's revival in Kyiv in 2024 became a gesture of defiance, a symbol of national importance underlining the continued vigour of Ukrainian culture even in wartime. This remarkable recording then followed, made in sessions between Russian bombing, black-outs and power cuts - itself a testimony to Ukrainian national resilience.

Between 1972 and 2018 the Ukrainian composer Yevhen Stankovych - born in 1942 and now the senior figure in Ukrainian music - produced a series of seventeen Chamber Symphonies, many of them doubling as concertos. This substantial body of music has remained largely unheard until now, even inside Ukraine, and should prove a major discovery for audiences everywhere. These works cover a kaleidoscopic range of moods - lyrical, rhythmically propulsive, bashfully hesitant, buoyantly assertive, elegiac, optimistic - expressed in a direct language with it's distant roots in the mild modernism of Berg, Britten, Janacek, Shostakovich and like composers. Stankovych's achievement is unparalleled in the history of music not simply because of the sheer number of his Chamber Symphonies - they also contain some of the finest music of the past half-century.