The comparative rarity here is the Violin Concerto, which shows Vaughan Williams toying with fashionable 1920s neo-classicism. His reference point is clearly Bach; the dialogue between the older composer’s purposeful rhythms and counterpoint and his own more meditative manner proves especially fertile in the slow central movement. This performance is very convincing – decisive and clear-cut in articulating the Bachian motifs but removing strong accentuation whenever a dreamier mood appears. And there are some fine imaginative touches; I was particularly taken with Tamsin Waley-Cohen’s lovely flautando tone as the finale quietly drifts away.

In the Introduction and Allegro, the orchestra is similarly adept at making all the contrasts tell; the fugal development is especially successful in its characterisation and cumulative impact. However, there’s a disadvantage in performing this work with a chamber orchestra: the opening lacks sufficient grandeur, and when the ‘viola tune’ (beautifully played on its first appearance) returns in the coda, it fails to provide a satisfying peroration. The Serenade, though, is perfectly suited to this body of strings; the performance has all the gracefulness and touching expression one could wish for.

In The Lark Ascending, some of the wind entries have too strong a presence, momentarily spoiling the illusion of wide vistas. And the way Tamsin Waley-Cohen lingers over the initial fluttering motif doesn’t enhance its magical effect. This said, it’s beautiful violin-playing, sustaining the broad arcs of the lark’s flight most convincingly. All in all, it’s a most attractive programme, performed with real sympathy and understanding.