Let’s clear snobbery and misapprehension out of the way first. Lord was a leading light of the group Deep Purple, but the two works we have here are not some rock star’s whim of “going classical” with a host of others to do the nuts and bolts for him. Here are the enjoyable, professional results of one musician’s enthusiasm for 20th-century symphonic writing. It was triggered by the association with Malcolm Arnold that began with Lord’s cross-discipline Concerto for Group and Orchestra, includes (in the first movement here of Disguises, Lord’s mini-Enigma Variations) a tribute, or perhaps a threnody for, Arnold, and in many places shares Arnold’s sheer ebullience in conjuring sounds from an orchestra.

Boom of the Tingling Strings is a four-movement piano concerto in the mould of those essays by Ravel, Prokofiev, Shostakovich and Gershwin where the piano is a busy primus inter pares. The title comes from a DH Lawrence poem about a small boy crouching underneath a piano played by his mother. The music celebrates some obvious Lord favourites – Sibelian pedal-points, a little recreation of “the” theme from Saint-Saëns’s Organ Symphony, bright Arnold-like brass fanfares – and manages some memorable keyboard effects and an infectious energy all of its own, not least in a barnstorming, virtuoso finale that has Proms Favourite written all over it. In addition to Arnold (“M.A.s.q.u.e”), the friends pictured within the tone-poems of Disguises are his mother (“Music for Miriam”) and an important friend called “The Clown”, identified only by initials but well characterised in some angular, Nordic string writing.

The technically tricky parts of these scores are not confined to the soloist’s role. Inevitable limitations of time and familiarity give some of the performance an improvised edge but pianist and orchestra sound seriously involved. An impressive achievement, warmly recommended.