The booklet for this, the 60th volume of Hyperion’s landmark series, quotes an entry from Dubois’s diary just two years before his death: ‘I don’t know if I’m wrong, but I feel quite sure that if later on, after I’m gone, [my works] come to the attention of unprejudiced musicians and critics, there will be a backlash in my favour!’

Until recently, only Dubois’s Toccata in G and Fiat lux for organ remained in the active repertoire, but several new recordings of his chamber works and church music reveal a lyrical, conservative craftsman with an extensive range and output. What he lacks in individuality and consistent inspiration, Dubois makes up for in appealing melodic invention and, on this disc, imaginative orchestration.

I’m not sure that the Concerto-capriccioso (1876), the earliest of the three works, isn’t also the most effective. Its simple one-movement ABA format unfolds with a continuous plethora of ideas eagerly taken up by Cédric Tiberghien and the ever-alert Andrew Manze. The Second Piano Concerto from 20 years later has four movements, the extended first of which is a stop-start affair over-burdened with rhetorical gestures and no clear sense of direction. The slow movement is really charming (beautifully played by Tiberghien), the scherzo à la SaintSaëns terrific but all too brief, the finale launched by a large scale cadenza recapitulating all the earlier themes.

The four-movement Suite from 1917, using the same harmonic language of 40 years earlier, is a pleasant enough listen but, despite the committed artistry of Tiberghien and Hyperion’s customary top-drawer recording, is, with the other two works, not quite enough to unleash the backlash Dubois believed might be his.