Herbert Howells’ magnificent Oboe Sonata 
          is by far the most substantial work here. It was written in 1942 for 
          Leon Goossens (who else?) who, incidentally, never performed it. This 
          wonderful work was eventually first performed in 1984 by Sarah Francis 
          and Peter Dickinson who also recorded it on HYPERION A66206 (re-issued 
          in 1999 on HELIOS CDH 55008). It is a tightly argued piece that has 
          nevertheless many beautifully lyrical moments and its present popularity 
          is quite deserved. 
        
 
        
Edmund Rubbra’s Oboe Sonata in C Op.100 
          (1958), written for Evelyn Rothwell, is also a quite meaty essay full 
          of this composer’s hallmarks. It is also one in which the basic idea 
          is thoroughly developed through a series of transformations, as is often 
          the case in Rubbra’s never indifferent music. However the work is also 
          imbued with warmly lyrical flights of fancy. It is one of Rubbra’s finest 
          chamber works. 
        
 
        
Richard Rodney Bennett wrote five works based, in one 
          way or another, on Debussy’s Syrinx. After Syrinx 
          I for oboe and piano is a typical Bennett piece blending serial 
          techniques (though he never was a strict serialist) with the tonal implications 
          of Debussy’s work. 
        
 
        
Lennox Berkeley, though no serial composer, based his 
          Oboe Sonatina Op.61 on a 12-note row worked out in a non-serial 
          way, so that Berkeley’s imprints are present throughout. As is often 
          the case in Berkeley’s music, the basic material is developed with economy 
          so that the music never outstays its welcome. 
        
 
        
Gordon Jacob was an all-round craftsman who had a remarkable 
          flair for wind instruments, and his Seven Bagatelles composed 
          in 1970 are no exception. These short character pieces are beautifully 
          written, full of exquisite instrumental touches and not without humour, 
          as in Limerick. 
        
 
        
William McMullen and Catherine Herbener obviously love 
          these works, and play with assurance and dedication, making the best 
          out of each of the pieces. Beautiful, natural recording fortunately 
          free from any extraneous sounds (such as clicks or breathing). I have 
          no reservation whatsoever in recommending this very fine release. 
        
 
        
        
Hubert Culot