Bartomiej Nizio (b1974 in Poland) has a seductively silky smooth tone and a narrow vibrato, and plays with exactly the kind of lyrical, ecstatic intensity that Stojowski’s demanding Violin Concerto requires. He is partnered by Łukasz Borowicz who, as in his Hyperion piano concerto recordings with Jonathan Plowright, lends an explosive dynamic to proceedings. Both are captured in vivid sound by producer Jeremy Hayes.

Composed probably in 1899, the concerto is, to apply a useful critical adjective, elusive in the sense that the listener, anticipating in a Romantic concerto a strong first subject, memorable second subject and ravishing orchestral colours will have to be satisfied, on this occasion, with just the latter. Stojowski’s motifs and figures pass by in a rapid kaleidoscopic procession while the structure, as Nigel Simone notes in the booklet, ‘feels free, unfolding in a way that is almost rhapsodic’. Few will be able to resist the soaring rapture of the second movement or the lively finale. Throughout, there are few bars when the soloist is not playing. The concerto is followed by Stojowski’s delightful Romanze (6'40"), written at about the same time and dedicated to Jacques Thibaud.

The premiere recordings of both works were recorded by the excellent Agnieszka Marucha in 2008. While her student orchestra is not quite the BBC Scottish and the sound is not Hyperion’s, she includes Stojowski’s not insubstantial (28'09") Sonata No 2 for violin and piano on a disc that is very much worth considering.

The Hyperion programme is completed by the Fantaisie on Gounod’s Faust, a work by Wieniawski (a Polish composer from an earlier generation) which, unlike the Stojowski pieces, is an unabashed showpiece. It ends with an exquisitely challenging treatment (partly in harmonics) of the famous Act 2 waltz, featured by Liszt in his better known Faust Paraphrase for piano solo. Nizio despatches this with the same jaunty good humour (but in a brighter sound picture) as Vadim Brodsky and Antoni Wit back in 1988.