Geoffrey Burgon's slinky, jazz-inflected viola concerto "Ghosts of the Dance" conveys colour, character and narrative in economical writing.
In the Cello Concerto it is the percussion that catches the ear, teasing and vexing the spiralling phrases of the soloist. Supported by Rumon Gamba and the City of London Sinfonia, Philip Dukes and Josephine Knight favour an almost vocal style of harrowed lyricism, while Sarah Connolly claims the 1997 song cycle written for James Bowman as her own. Merciless beauty, indeed.
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