There aren’t very many concertos for harpists to choose from – and even fewer of truly high quality – which likely explains why Ginastera’s superbly crafted work has proved relatively popular on disc, with nearly a dozen versions since its premiere recording by Nicanor Zabaleta (DG, 1/71). Sidsel Walstad takes a very individual approach to this concerto, playing with a delicately fine, ethereal tone that is unexpected in such earthy music. She’s wholly convincing, however, providing a gently glittering foil to the bristling orchestral part. Her playing of the long cadenza (at the beginning of track 3) is magical in its subtle shading, and I like that she takes her time, allowing the silences to speak as loudly as the notes themselves. The Norwegian Radio Orchestra (of which she is a member) provide solid support under Miguel Harth-Bedoya, and I only wish the engineers had given them greater presence. The balance allows the harp to be heard clearly throughout but lacks the satisfying sonic punch of the equally clear ASV recording with Nancy Allen (8/89).

I’m glad to see that the composer’s Variaciones concertantes is finally catching up to the Harp Concerto in popularity, for it’s just as well wrought and perhaps even more musically endearing. Harth-Bedoya emphasises the concerto-for-orchestra nature of the score, eliciting playing that’s notable for its clarity and precision. Juanjo Mena has more fun with it on his recent Chandos recording (9/18) but there’s some terrific solo playing here by the Norwegian musicians, and it’s a pity that none are listed in the booklet. The orchestra’s brass and woodwinds are especially impressive – listen, for example, to their rich tone in the ‘Interludio per fiati’ (track 13). And in this work, thankfully, the engineers put the NRO right in our faces. Warmly recommended.