Was Raphael Wallfisch both director and soloist? Or did leader Nicholas Ward direct from the first desk? We are not told, but the orchestral contribution is often short on attack and opaque in texture. Wind instruments don’t stand out as distinctively as they ought to, their timbres affected by a lack of transparency and lightness in the fabric. The mildly hazy recording is probably of little help.

Nevertheless, Nimbus cannot be held responsible for a “leadership crisis”, particularly bad in Reicha’s concerto, bogged down as it is by lugubrious or leaden playing from the band. Matters improve in Weber’s Grand pot-pourri. Keener propulsion and sharper leading edges to notes ensure a better backing for Wallfisch. His placement within the group is, however, inconsistent, but not to his detriment. Artistry isn’t obscured.

The virtues of this disc really centre round the music and Wallfisch’s advocacy. Spohr’s Violin Concerto in Friedrich Grützmacher’s adaption is a worthy addition to the repertoire which, with the other works, forms an attractive, versatile collection. But Wallfisch has to contend with a largely prosaic and unimaginative partnership that largely negates his sensibilities. So it’s back to the beginning and the serious want of a positive presence – a single mind that doesn’t constrain the rhythmic freedom of musical lines, adjusts tonal balance for maximum clarity, channels the power of the musicians and empowers them to release the drama in the music. A capable conductor, no less.