Has Thomas Pitfield’s time finally arrived? Having enjoyed modest composerly success in his very long life (1903 99), as well as being a much-revered teacher at the Royal Manchester (later Northern) College of Music, his music fell into the usual neglect. In the past few years, however, a trickle of releases featuring chamber music, songs, even the two piano concertos, has begun to bring him back into view, and last year a marvellous (and weighty) tome of essays and reminiscences, Endless Fascination (ed Rosemary Firman and John Turner), was published by Forsyth Press.

Pitfield was at his best as a composer of miniatures, as confirmed by his breakthrough work, Prelude, Minuet and Reel (published 1932). It is arguably the star of this engaging collection of piano works curated and played by Duncan Honeybourne, who has recorded Prelude, Minuet and Reel before, as did Pitfield’s former pupil, the late John McCabe (also for Heritage). There is not much difference to their approaches, to be honest, unlike Peter Donohoe’s bracing, driving account on Naxos of the 1953 Toccata that opens the programme, cutting a minute off Honeybourne’s more relaxed roughly five minutes. Donohoe’s is undeniably the more bravura interpretation, making Honeybourne’s sound rather tame by comparison.

Honeybourne’s approach otherwise is generally very sound for what is a charming and gentle output for the instrument. This is music of nuance and appeal, which I imagine many users will find attractive, but never trivial or bland. Highlights are The Circle Suite (1938), written for a group of musical friends, the rollicking Diversions on a Russian Air (composed for another pupil, John Ogdon, no less), the Three Bagatelles from the 1950s and the Sonatina No 2, written in his last years. With fine, sensitive playing and excellent sound throughout, this is a splendid tribute to a largely forgotten master