The name of the Norwegian Ørjan Matre (b1979) should be familiar to British audiences following last year’s Proms performance of his concert opener preSage, composed in 2013 for the Oslo Philharmonic Orchestra to mark Vassily Petrenko’s debut as principal conductor and the centenary of The Rite of Spring. Recorded here in its 2015 revision, preSage refers to the tiny section ‘The Sage’ in Stravinsky’s ballet, deriving from it ‘a simple two-note rhythm and a string harmonic chord…the basis for the rhythmic and harmonic structures throughout the piece’. Matre’s rather delicate work inhabits, compellingly, an unique expressive and musical landscape, beautifully caught by Gupta and the Stavangerans.

Forming the programme’s climax, preSage proves effective enough, especially succeeding the two-movement Violin Concerto Matre composed in 2014. Given here in its full-orchestral guise, the concerto is a vivid, beguiling creation, the solo violin weaving its way dreamily through a fascinating aural landscape (at times quite vigorously, as is the way of dreams).

Herresthal has its measure, both technically and expressively, and is on his mettle, too, in Henrik Hellstenius’s edgier In memoriam (2012, rev 2013), scored for a lighter orchestral accompaniment of strings and percussion. The model for the structure is the fragmentation and disorientation experienced by sufferers of Alzheimer’s disease, which the composer’s father died of, and a son’s lament for the ‘dissolution of consciousness that this terrible condition produces’. The purely orchestral Like Objects in a Dark Room (2007, rev 2008 14) is more abstract in origin and is compellingly performed here. Superb sound.