This Belarussian composer speaks the increasingly wide-spread language of neo-romanticism, lightly seasoned with minimalism, of which the latest example was Elisabetta Brusa. Gorelova is less sunny and brassy than Brusa, her Slavic soul showing itself in a minor-key, brooding quality which informs many of the six movements of her two concertos but, as in the last movement of the "Oboe concerto" and in the second of the "Trombone concerto", Slavic folklore and clear, high spirits come into play also. In the solo instrument pieces and in the "Portraits", some atonality appears, along with extended playing techniques but these are meant as fodder for the soloists and the general mood in these pieces is rather neo-classicism. This should appeal to all collectors of readily communicative modern music. Records International