This is a revival of forgotten violin concertos recorded more than 30 years ago, all of them elusive but not unrewarding. Time has not treated the composers kindly. David Morgan, unknown to the dictionaries, and the Australian Don Banks, who spent some years in London, have nothing currently available on CD. Even Peter Racine Fricker, prominent in the post-war years, is represented merely by a few chamber works and choral pieces.

The current demand for accessibility would favour the Morgan. He was a pupil of Alan Bush at the RCM then went to study in Prague, where his Violin Concerto was premiered in 1967. Seven years later there was a well received London performance with this recording two years afterwards. The composer has said it’s an autobiographical work in which he was struggling to come to terms with the role of the individual in society. The writing is consistently lyrical in an instinctive way, attractively unpredictable, and there’s plenty for the soloist to do, especially in the central Scherzo.

Fricker’s Concerto dates from 1950 and was premiered the following year when it won the Arts Council’s Festival of Britain competition for young composers – he was 30. It’s hard to realise now that it took courage to break through the parochial establishment in British music but Fricker’s influence declined after he moved to California in 1965.

Don Banks reached a wide audience through his film scores, notably for Hammer Horror features, but without the visuals those listeners would hardly warm to his atonal Violin Concerto, a BBC commission premiered at the Proms in 1967. There’s eloquent solo writing for the violin and Banks has a magical command of orchestral textures.