Maninya is a word made up by Ross Edwards to describe a highly rhythmic style, inspired, he says, by the sounds of the Australian bush. To the uninitiated listener the Concerto comes across as a bright, cheerful piece in D major, its outer movements dominated by lively, irregular Stravinskian rhythms, but ultimately quite static in effect. I found it only mildly engaging, except at the end of the first movement, where the bright colours vanish, like dusk falling, and a sombre, mysterious mood briefly takes over. The second movement is in the form of a solo cadenza, leading to a slow, soft chorale, overlaid with improvisatory violin meditations. Throughout, Adele Anthony plays beautifully, with warm, luminous tone, and she’s well supported by the Adelaide orchestra.

Anthony has the measure of the Sibelius, too, playing with complete assurance, and her mellow tone is heard to splendid effect in the lyrical passages, above all in the Adagio, whose long melody is projected with an impressive sense of line. Yet it could be argued that the interpretation is too suave; the first movement’s coda and much of the finale don’t seem quite fiery or abandoned enough and there are places where the emotional colour is rather too comfortable. The low-lying orchestral passages, too, tend to miss the necessary dark, menacing quality. By contrast, Vilde Frang’s recent recording goes through the full emotional gamut, with playing that is exceptionally compelling, by virtue of its spontaneity and wide expressive range.