Born into a prosperous Japanese family in 1907, Hisato Ohzawa had a most impressive list of musical mentors in both the United States and Western Europe and included Schoenberg, Sessions, Nadia Boulanger and Dukas. Though reminded by many of them that he was Japanese, he chose to be influenced by the music of the French Impressionists to an extent that his music became entirely reliant on their style that he updated by the era of Honegger. He was a gifted orchestrator and certainly knew how to create the structure of a concerto and symphony, his one drawback being a lack of immediately memorable thematic material. He was, of course, not alone in that problem, and he has the advantage of a likeable musical character, the concerto progressing in long flowing lines with sufficient technical hurdles to interest the virtuoso. Winner of major competitions, the Russian pianist Ekaterina Saranceva, plays with flair and clarity, and with that feel of long-term familiarity. That would equally apply to the conductor, Dmitry Yablonsky, who gets conscientious playing from the Russian Philharmonic Orchestra, his strings strong and precise in articulation, the brass warm and round to match the Frenchness of the symphony.