Amanda Feery offers a study in emotional remoteness well suited to its Antarctic inspiration, and Sally Beamish one whose technical panache amply underlines her own ability as viola player.

Elisabeth Lutyens and Elizabeth Maconchy are represented by works that find their thinking at its most characteristic. That by Lutyens typifies her later output in its refractory gestures and an innate continuity that motivates its nominally fugitive progress. That by Maconchy is a series of vignettes whose brevity does not exclude a methodical progress, where motifs from one piece are transformed in another and any flights of fancy underpinned by formal rigour. ... With sound that brings out the full timbral and expressive range of the musician’s playing, this adds up to a consistently impressive statement of intent as well as a persuasive overview of music which, in the words of Ventris herself, ‘just happens to be by women composers’.  Richard Whitehouse