"This release features everything from chips off the workbench to moderate-sized works, all of it bearing the hallmark of impeccable craftsmanship that was a feature...

"This release features everything from chips off the workbench to moderate-sized works, all of it bearing the hallmark of impeccable craftsmanship that was a feature of Berkeley’s music.

The Short Pieces for Piano of 1937 recall Poulenc in their easy charm that neither contains depths nor pretends to any. Written in 1945, the six Preludes for Piano bring Fauré and Ravel to mind, both in the modal writing and highly idiomatic use of the instrument. The tone is more varied than in the earlier collection, and the overall effect, one of emotional breadth and refinement. If the Andantino for Cello and Piano possesses an apparent vocal line, it’s because the work is actually a transcription of a soprano solo from Berkeley’s Festive Anthem; and Berkeley was right to save this songful little excerpt from the usual fate accorded such works. The three Pieces for Clarinet solo were written in 1939 but not published until 1983, and dedicated to Thea King—a handy thing to keep in your portfolio, when you wish to compliment an outstanding clarinetist with more than words. At 1:24, the 1982 Mazurka is the shortest composition performed here. Composed in honor of the 250th anniversary of Haydn’s birth, it is a wonderful example of Berkeley’s subtle, transparent, late manner, though I’ve yet to understand the connection between Poland and Haydn. Among the longer works, the Duo for Cello and Piano from 1971 is a stark, almost ghostly piece with an emphasis on pointillistic counterpoint, and at 6:19, easily the largest, most complex movement on this release. The four-movement Concertino of 1955 emphasizes elegance and austerity; even the last movement, a vivace rondo, is grim-faced despite its typically Berkeleyian rhythmic verve. Finally, the Sonatina, written in 1943, possesses a weight of incident and seriousness entirely beyond its duration. Not that it foregoes the composer’s customary lightness of touch, but the sober, often forcefully direct manner of the piece displays a side of Berkeley not heard elsewhere on this CD."

Barry Brenesal, FANFARE