The march of technology is not always beneficial to art. This is one of those discs that a few years ago you might have serendipitously discovered in HMV; but via a search engine? Unlikely. And that’s a pity, for contained within its digipak is an imaginatively conceived menu of works by Saint-Saëns and his pupil and longtime friend Fauré, enticingly played.

If the Orchestre de Chambre de Paris is unfamiliar, that’s because it’s the new name of the Ensemble Orchestral de Paris. Also new is the orchestra’s relationship with conductor Thomas Zehetmair, one of the most musicianly figures around today, whether on the podium or with a violin tucked under his chin.

And if soloist Deborah Nemtanu is by no means a household name, that’s because she’s the orchestra’s leader; and over the course of the disc she performs not only as soloist and leader but as director, too, in Fauré’s tender Berceuse. The calibre of the musicians is well displayed in a wonderfully crystalline performance of Fauré’s Pelléas et Mélisande Suite (with some very fine wind solos, not least from the first flute and first oboe). Nemtanu captures well the intimacy of Saint-Saëns’s youthful First Violin Concerto and she’s equally comfortable in that virtuoso standard, the Introduction and Rondo capriccioso, lending an almost vocal intensity to the sinuous lines of the slower music and making the work her own every bit as convincingly as Janine Jansen did in her 2003 recording for Decca.