Blue Griffin’s ambitious programme of Lowell Liebermann world premieres is dominated by the immersive relationships the soloists develop with the composer’s broad orchestral spectrums. There is nothing immediately striking about his melodic material but the organic roots of Liebermann’s epic visions, often in surges of bassoons, double basses and low brass, bloom into cinematic universes.

Liebermann’s Violin Concerto, premiered by Chantal Juillet and the Philadelphia Orchestra, seethes with intoxicated lyrical imagination. The first movement stirs into motion the composer’s all-encompassing universe; the second is dedicated to the love affair music critic John Ardoin had with the bel canto and Maria Callas, its central lyrical section with clarinet a thing of ecstatic beauty. After two static movements the finale is consumed in chromatic chains like unleashed Sibelius. Aiman Mussakhajayeva and her orchestra take no prisoners with Liebermann’s demands for spectacular virtuoso display, passionate rhapsody and sheer instrumental power.

The first of the two Chamber Concerto arrangements, premiered at Spoleto by Joshua Bell, Jean-Yves Thibaudet and the Ridge Quartet, is more spiky and freewheeling, featuring all sorts of delectable moments, with compelling Bartókian accents and a wonderfully imaginative piano part played by the composer himself. The second Chamber Concerto is more sombre. Liebermann’s orchestral arrangement of the lovely Air, Op 118, originally for flute and organ, is a rich and involving vehicle for the violin.

Myron Silberstein’s detailed booklet notes belie the charms of music that enchants the ear as much as it impresses the intellect.