Understandably sated by discs of the two standard “classical” trumpet concertos (Haydn and Hummel), listeners will find in this 20-year-old Norwegian Alison Balsom lookalike a musician who plays with an especially beguiling, sweet and shimmering line, nonchalant technical authority and stylish understatement. From the outset, the Haydn is taken at face value – in other words, no cheap tricks to freshen up this warhorse. Here’s a performance reminding us, above all, of the work’s beauteous craftsmanship.

In both the rounded tonal spectrum of the Hummel and Neruda (a work with an attractive melodic profile but a banal structural framework), Helseth is comfortingly supported by the excellent Norwegian Chamber Orchestra, who listen alertly and bring the kind of integrated concentration to these works which, on revisiting, one finds was often lacking in Maurice André’s large roster of accompanying ensembles in these concertos.

Unlike André, however, Helseth’s musical personality ultimately lacks a sense of real moment or indeed the indefinable charisma of the elder statesman – who, even when he sleepwalked these concertos, somehow caught the esprit of each strain. Helseth comes closest in a brilliantly turned Albinoni and the lyrical slow movement of the Hummel, which is highly accomplished. The recorded sound is first-rate.