The Roy Harris is a major discovery. It seems that he wrote all those notes and completed his two-piano concerto in 1946 and then never heard it. It’s a spacious and confident work which gives some idea of what it felt like to be an American as the country strode onto the world stage for a second time after a world war. Harris draws on the kind of chordal bitonality which Milhaud pioneered and Honegger used shortly afterwards in his imposing Fifth Symphony. This is Harris at his most extrovert, even in the fulsome textures of the slow movement. The two muscular soloists dominate the orchestra and there’s a kind of crazy Irish jig as a finale.

This is not the Theodore Dubois beloved of organists but Pierre Max Dubois (b1930), who was a pupil of Milhaud’s, and it shows. This two-piano work, written in 1960, has all the high spirits that the composers of Les Six passed on to Jean Françaix and others. The outer fast movements contain comic asides such as mock fugues alongside hyperactive, secondhand passage-work: all very much over the top.

Arthur Benjamin’s suite of eight short numbers is another discovery, their irrepressible enthusiasm characteristic of square-dancing and country music. Both the Dubois and the Benjamin belong to pops concerts where they would bring the house down in performances like these. This well-seasoned two-piano team, with a recorded repertoire ranging from musicals to Cage, delivers everything with zest and panache.