As Gál is the main focus, let me deal with the ‘Great C major’ first. Once again, Zehetmair shows himself a natural Schubert interpreter, his association with the Northern Sinfonia paying handsome dividends in this lithe and fluent account of what Gál termed a ‘universe of sound such as never appeared before or since’. Standard repertoire like this provides the true gauge of the conductor-orchestra dynamic, allowing no place to hide, where less familiar music can mask lack of rapport. Here, all sound in perfect harmony and if this new version does not replace classic accounts by the likes of Böhm, Boult, Harnoncourt or Rattle, it is none the less a fine modern interpretation caught in splendid sound.

Zehetmair’s Gál Second Symphony (1942‑43) is equally sensitive and unfussy, in a work whose emotive complex could easily be misinterpreted. Composed in Edinburgh at a tragic conjunction in the refugee composer’s life, with the deaths in quick succession of his mother and (by suicide) sister, aunt and younger son, the elegiac Adagio – placed third after two shorter movements – is the work’s core, sublimating the emotional turmoil he must have endured in music of sublime yet understated eloquence. In true Classical spirit, the large finale is outward-looking and positive in mood until the slow drawing-down of blinds in the resigned coda.

Gál’s Violin Concerto (1931‑32) is less troubled and better known, through Annette-Barbara Vogel’s wonderful recording (with the Northern Sinfonia). Thomas Albertus Irnberger, who has an impressive array of recordings to his name, is another persuasive advocate for this lyrical, light-filled work. In pace very close to Vogel, both interpretations follow similar lines, the main difference being the sound: Gramola’s is rather recessed, Irnberger’s tone not so sweet. Were Vogel’s disc unavailable I would have no hesitation in commending this newcomer but Avie’s remains first choice with a fine programme (Violin Concertino and Triptych). Gramola’s eminently sensible coupling is the two sonatas with piano accompaniment. Here, again, Avie’s sound has more immediacy; in the B flat Op 17 Vogel gets to the heart of this turbulent score more convincingly (in both versions). Irnberger’s is still a fine account and in the D major he has a winning way with this fine music; I prefer him to Frühwirth, though the latter’s programme is superb. Both issues are recommended.