Together with the works by Mozart and perhaps Nielsen, Weber's two concertos and single-movement concertino form the bedrock of the solo clarinettist's concerto repertoire. The three were composed in 1811 for the virtuoso Heinrich Bärmann, who, as Michael Collins's dashing performances demonstrate, must have possessed a remarkable technique and a particularly fine lyrical tone; passages of flashy brilliance alternate with long-limbed melodic lines in all of them. There's often something operatic in the way the orchestra is used to set the stage for the entry of the soloist and, in the F minor First Concerto particularly, the world of Weber's masterpiece Der Freischütz is occasionally prefigured. Collins directs the orchestra as well as dispatching the solo parts with wit and aplomb, and he also takes charge of the accompaniment to Stephen Stirling's performance of Weber's Concertino for horn, a piece that inevitably sounds rather staid alongside the glittering clarinet works.