Finzi dedicated the 1938 Prelude and Fugue for string trio to his counterpoint teacher RO Morris (1886-1948), the last of whose Canzoni ricercati he regarded as ‘a genuine masterpiece … grave and lovely’. A notable achievement it is, too, the writing as idiomatic as it is absorbing. Formed in 2006 and currently visiting tutors at the Royal Birmingham Conservatoire, the Eblana String Trio prove enviably lucid, articulate advocates of this and Hugh Wood’s stimulating Ithaka. Completed in 2016, the latter derives its inspiration from the eponymous meditation by the Greek poet CP Cavafy (1863-1933) on Ulysses’ 10-year homeward journey after the Trojan War. Not only does Wood’s creation pack a wealth of first-rate invention into a canvas lasting a mere nine minutes and 40 seconds, it also exhibits an expressive charge, economy of thought, painstaking craft and entrancing resourcefulness that will come as no surprise to anyone familiar with this 89-year-old figure’s five string quartets.

Next comes Sally Beamish’s The King’s Alchemist (2013), which takes its cue from the exploits of John Damian de Falcuis, a larger-than-life character at the Court of James IV in Stirling, who once attempted to fly to France by launching himself from the castle walls wearing a pair of wings (landing in a dungheap below and sustaining a broken leg). Cast in four pithy movements, it’s a set of variations on the French folk song ‘L’homme armé’ – which also formed the basis for a Mass by another remarkable member of King James’s entourage, Robert Carver (c1485-c1570). Last, but definitely not least, we are offered Moeran’s marvellous String Trio from 1931 in a splendidly stylish and affectionate performance that does full justice to its tumbling lyricism, rhythmic ingenuity (the first movement’s 7/8 time signature brings with it a subtle variety of metre) and satisfying cogency. (Do try and hear, too, the Pougnet Trio’s sublime pioneering recording of this glorious work – Columbia, 7/41.)

All in all, a most nourishing and enterprising release, comprehensively annotated and captured with top-notch realism by the team of producer Mark Hartt-Palmer and sound engineer Oscar Torres.