Justin Connolly’s death four years ago was the impetus for this project, led by former colleagues at the Royal Academy of Music. Members of the Kreutzer Quartet are joined by clarinettist Roger Heaton and several students, whose presence says much for the spirit of the enterprise, a passing of the interpretative torch from players who collaborated with the composer on several of the works heard here to the next generation. That is both as it should be in an educational establishment and a generous touch of which Connolly would have approved.

The music recorded here spans five decades, opening with Connolly’s last major work, the String Trio completed in 2010, a marvellously focused and detailed work, one of the most compelling in the recital. In fact, it’s the only one written for an established chamber configuration. Everything else is for unconventional groupings, which demonstrates Connolly’s uncanny timbral invention, whether the strings are joined by an accordion (for Celebratio super Ter in lyris Leo), a clarinet (for Triad V and Gymel B) or just more strings (four violins, appropriately enough, for Ceilidh). If a mark of great chamber music is the illusion that more instruments sound than are actually present, then Connolly passes that test with flying colours. The music’s sensual appeal and variety of gestural incident go hand in hand with a toughness and urgency that both demand and invite repeated listening. Although the works for solo instruments seem to me a touch less distinctive (except for Collana for solo cello), the delightful archive bonus track Tesserae E for flute and double bass (recorded in the early 1980s by Nancy and Bertram Turetzky) ends on a high note – and lots of low ones.

The commitment and dedication of these recordings are as one would expect from these performers but there are flashes of brilliance, too – the opening Trio is a great place to start, and the student musicians (only just too numerous to name) deserve to be commended. There is also a wide-ranging and thoughtful essay by the project’s guiding spirit, Neil Heyde, reflecting on the music and the person of his former colleague. Anthony Gilbert (also regrettably and recently deceased) wrote years ago that Connolly’s music was largely inaccessible to listeners. While that is still broadly true, this album is a notable first step in redressing the situation. Do listen.