Grace Williams (1906-1977): Four Illustrations for the Legend of Rhiannon (1939)
Grace Williams (1906-1977): Castell Caernarfon (1968-9)
Grace Williams (1906-1977): Ballads (1967-8)
Grace Williams (1906-1977): Sea Sketches for String Orchestra (1943-4)

This disc starts with an orchestral climax depicting 'The Conflict' movement in the 'Four Illustrations for the Legend of Rhiannon'. Given its pictorial richness it is no surprise to learn the composer was one of first British female composers to write a film score, for 'Blue Scar' a drama set in her beloved Wales. It is also no surprise, having listened to her assured handling of the orchestra, to learn she studied with Ralph Vaughan Williams ("Uncle Ralph") in London, and Egon Wellesz in Vienna. Wellesz had a much more dissonant style than Williams, but something of the toughness found its way into her later music. Echoes of Vaughan Williams occur frequently, but the surprising richness of orchestral textures is particularly prominent.

The Rhiannon Illustrations, written just prior to WWII, are most convincing in the quieter sections (particularly the final two movements) and make an interesting contrast to the much later Ballads of 1968. Solidly tonal though her music is, the later work, despite its title, is purely orchestral, and starts with an interesting off beat somewhat dissonant flourish. It then dissolves into an appealingly tense and inventive response before an expansive central section. The second movement, a solemn march that I found amusing in its limping tune, is deftly orchestrated. I do not hear the sardonic wit of Shostakovich that at least one commentator has, but it has a witty playfulness that is immediately attractive. The subtlety and drama are carried through all the movements.

The disc is topped and tailed by earlier works, finishing with the wonderfully tuneful and thoughtful 'Sea Sketches', written during WWII.

I found the 'Castell Caernarfon' less distinctive, although I am temperamentally less enamored by ceremonial pieces, it was commissioned for the investiture of the Prince of Wales in July 1969.

Recording and playing are on a high standard throughout, and the conducting of John Andrews displays sensitivity and enthusiasm. Thankfully, contemporary women composers no longer need special pleading to get a fair hearing, but during Grace Williams' music development they often did not get a fair hearing, this disc is one of several over the last 10-20 years that are redressing that balance. Her music displays a sensitive musical intelligence, and this disc makes an excellent case for it. Particularly for the final two pieces, those I will be listening to in the future for pure enjoyment.