Having already issued vivid recordings for Chandos of relatively well known works by Piazzolla, Ginastera and others, Castagna now turns his attention to unfamiliar music by mostly unfamiliar names. Argentinians Piazzolla and Alberto Williams top and tail the programme with, respectively, Castagna’s own 2009 orchestration of Milongón festivo and the lively First Concert Overture (1889).

In between comes a series of works from the vast hinterland of South American composition eclipsed by Villa-Lobos, Ginastera and Mexicans such as Chávez, Ponce and Revueltas. The composers were all born in the latter half of the 19th century, were influenced by contemporary French or Italian music (most studied in Europe) and had a keen awareness of Andean culture. The pick is Colombian Victor Uribe Holguín’s Tres Danzas (1926, rev 1940), three sparkling gems that end well within their length. Brazilian Francisco Mignone’s Congada is a dansa afrobrasileira originally conducted in Rio by Richard Strauss no less. The most substantial is Peruvian Theodoro Valcárcel Caballero’s Concierto indio (1940), skilfully delivered by Roy Harris’s granddaughter, Nora Chastain.

Holguín and Williams between them created 20 symphonies but the only symphonic repertoire is represented by Juan José Castro’s highly rhythmic Arrabal, the opening movement of his Sinfonia argentina (1934). Manuel Gómez Carrillo’s Fiesta criolla (1941) seems lightweight by comparison, although Rapsodia santiagueña (1922) is sturdier fare. All the pieces are performed with great conviction and receive vibrant recordings full of vim and vigour as befits their lively character. Chandos’s sound is typically rich and clear.