They may have come about through informal circumstances, but Michael Finnissy’s two sets of Gershwin arrangements are among his most characteristic and certainly most often-heard works, this new release by Lukas Huisman constituting already the third complete traversal.

One factor that marks these readings out from previous accounts by Ian Pace and Nicolas Hodges is the judicious interplay between elements of jazz, even blues, and classical idioms at the time of Gershwin’s (tragically brief) song-writing career. This is evident in Gershwin Arrangements, from those evocative modal harmonies that contextualise ‘A foggy day in London town’, via the impressionist patina infusing ‘Shall we dance?’ or fluidly expressionist sound world of ‘Embraceable you’, to the wistfully detached poignancy such as envelops ‘Boy wanted’.

Unfolding to a similar concept, the follow-up set More Gershwin is freer in its treatment of the original songs and Huisman is more impulsive in his response. There are definite Asiatic overtones in the Chinatown depiction ‘Limehouse nights’, as also a steely virtuosity in ‘I’d rather charleston’, then surging rhetoric as the refrain of ‘Swanee’ comes to the fore. If the early ‘Nashville nightingale’ might appear to be unexceptional, Finnissy’s highly particular take ensures a heightened emotional response that carries through to the plangent closing bars.

The sound has no lack of clarity although with slightly flat perspective above forte, while Huisman’s notes refer to Finnissy in the context of his own observations. Those who have either of the earlier recordings can rest content; devotees and newcomers should certainly acquire this new one.