Weinberg’s recorded coverage expands apace, this release featuring three of his concertante works in readings that eschew the asperities of earlier recordings for a warmer sophistication.

This is already the third recording of the Cello Concertino (1948), only recently located and representing an earlier version of what became the Cello Concerto. Less than half the length and for strings only, this first incarnation is less imposing with less cumulative intensity, yet the succinct follow-through convinces on its own terms. Pieter Wispelwey is audibly inside its idiom, as he is that of the Fantasy (1953), this single movement also framing its livelier sections with sombre music to remind one that Myaskovsky is at least as important an influence on Weinberg as Shostakovich. Les Métamorphoses under Raphaël Feye come into their own here – eloquent, impulsive and allowing plenty of emotional breathing-space for the soloist.

Hard to credit something so introspective as the Fourth Chamber Symphony (1992) would in time accrue almost a dozen recordings, this latest being among the finest. Not the least of its virtues is the clarinet-playing of Jean-Michel Charlier, as soulful yet assertive as this music requires – not least in the Allegro’s scabrous exchanges with violin and cello, then an Adagio whose bleakness is judiciously counterbalanced with the finale’s klezmer-informed pathos.

Marina Tarasova’s pioneering account of the Concertino (Northern Flowers, 12/18) retains its immediacy, and Raphael Wallfisch’s coupling of all three cello works (CPO, 4/20) enables direct comparison between that and the Concerto, while Mirga Gražinytė-Tyla finds greater implacability in the Chamber Symphony (ECM, 4/17). That said, no one can go wrong with this sumptuously recorded and well-annotated release.