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In the Korngold, Mutter’s up against Heifetz’s classic recording, and here she does give him a run for his money. The Concerto is based on some of Korngold’s film scores, so the Hollywood sweetness of her sound is well-matched to the music. It’s also a natural for Previn his third recording of the piece – and he revels in its lush orchestral sonorities, with matching Abbey Road sound. Martin Cotton


Symphony No. 2; Serenade for Small Orchestra; Music for Orchestra, Op. 11; Julius Caesar: Symphonic Epilogue

Grant Park Orchestra Carlos Kalmar Cedille CDR 90000 077 64:00 mins £ £ £ Robert Kurka was born in Illinois, the son of Czech immigrants, in 1921, studied at Columbia University in New York and died of leukaemia in 1957, aged only 35. His major work was an opera, The Good Soldier Schweik (reviewed October 2015). This orchestral programme reveals a composer of essentially tonal, neo-classical orientation, capable of strongly shaped forms, as in the single-movement Music for Orchestra of 1949 and the more conventional Second Symphony of 1953. His American background is most obvious in his persistent loose-limbed syncopation, and in a tendency towards over-inflated rhetoric as in the bombastic conclusion of the ‘symphonic epilogue’ Julius Caesar

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