He toured as a virtuoso cellist from the 1870s before achieving even greater fame as a composer of operettas. Hardly surprising, then, that both concertos for his instrument combine strong melodic appeal with technically challenging solo parts. Both have the standard three movements. The D major Concerto (No 1) was composed in 1884, just two years before Herbert and his new wife emigrated to America. This is only its second recording. The E minor (No 2) was premiered in 1894 (it was hearing this work that finally persuaded Dvořák, Herbert’s boss at New York’s National Conservatory, to compose his own concerto for the instrument).

The latter is no longer such a rarity on disc. Georges Miquelle’s pioneering 1962 account with Howard Hanson, originally paired with Bloch’s Schelomo (Mercury, 10/62), can now be found either with the Sinfonia in G by Johann Peter (Naxos download) or Grofé’s Grand Canyon Suite (Mercury, 10/95). Julian Lloyd Webber’s version with the LSO and Mackerras (EMI, 2/87) is no longer available; Yo-Yo Ma (Sony, 4/96), Gautier Capuçon (Erato, 4/09) and James Kreger (Guild, 4/02) all couple it with the Dvořák. Only this new recording and that by Lynn Harrell with the ASMF and Sir Neville Marriner offer both Herbert concertos. Mark Kosower is a wonderfully eloquent soloist who is a joy to hear, especially in the feisty company of JoAnn Falletta, though I shall remain loyal to Harrell, the more characterful player of the two, with a warmer, fuller tone.

Decca’s bonuses are arrangements by Sam Dennison for cello solo and strings of five short, charming piano solos by Herbert. Naxos offers the 1892 Irish Rhapsody for grand orchestra (15'58"), a high-spirited bit of old Oirishry, a medley that includes nonetheless a most affecting arrangement of ‘Rich and rare were the gems she wore’. And at half the price of the Decca disc, the newcomer is warmly recommended.