‘This sweeping lyricism … fundamental to Gál’s style’ is annotator Richard Marcus’s description of the opening melody of the Suite concertante (1949) and could stand for all four works here. I doubt that the Ostrobothnian Chamber Orchestra and Sakari Oramo had encountered much of Gál’s music over the years but they play the four movements of the Suite (given here, for the first time, in its orchestral version) with relish.

The star of the show is their principal viola, Hanna Pakkala. Her formidable, prize-winning technique, rich and full tone and dedication to neglected works make her an ideal exponent. Her intonation is absolutely perfect, too. An intuitive chamber player, her account with Reijo Tunkkari (the Ostrobothnian CO’s concertmaster) of the Divertimento for violin and viola (1969, the last of a series of three duos initiated in 1958) is a marvel of musicality, both players immersed in Gál’s inexhaustible invention; listen especially to the quicksilver evocation of elves, ‘Folletti’, or delicate interlude, ‘Figurina’.

The Viola Sonata (1942) shows Gál in more serious mood, not so much from when it was composed (the darkest period of his life) but in essaying a form perfected by Brahms. The opening Adagio is extraordinarily varied, alternating light and intensity caught with finesse by Pakkala and her sensitive accompanist, Irina Zahharenkova. Better still is the Trio for oboe, violin and viola (1949), the longest work here. Suffice it to say that this is music-making – from composer and players alike – of the highest order. Recommended with all possible enthusiasm.