Even more than that of the symphony, the concerto repertoire has become an all-too-limited one – centering on a handful of warhorses and a sprinkling of novelty items. Which makes Pascal Dusapin’s contribution to the genre over the past decade all the more significant and, as the three works on this disc confirm, worthy of investigation by soloists at whatever stage in their careers.

Watt (1994) takes its inspiration from Beckett’s novel of existential uncertainty, resulting in a monologue where the trombone is set within an orchestral context of ominous import. Tension is broken midway by an unfolding melody sung into the solo instrument and doubled by piccolo, which combination concludes the work in a mood of pensive resignation. A striking contribution to a medium not brimming over with masterpieces!

Even so, it is Celo (1996) that leaves the deepest impression. The punning title of this cello concerto alludes to things kept secret, and there’s a real sense of undisclosed emotion here – the three movements consisting of an etiolated prelude, an intensifying sequence of ensemble and cadenza-like passages, and a free and impassioned rondo – culminating in a subdued lament that is curtly dismissed. Heard last, Galim (1998) makes a postlude of restrained but affecting pathos, the flute threading its way through translucent string textures (Dusapin is among the few composers to successfully integrate quarter-tones into the harmonic fabric while retaining their expressive potency), before fading into the brooding resonance of cellos and basses.

Superbly attuned performances from the three soloists, with Pascal Rophé drawing refined and attentive playing from the Montpellier orchestra, recorded in a spacious but not unduly reverberant ambience. Insightful notes from the redoubtable Harry Halbreich (an anthology culled from his four decades of sleeve-note writing would be most welcome), and a disc that reaffirms Dusapin as a major compositional voice of today.