For many years these concertos were closely identified with their dedicatees, the Myaskovsky with David Oistrakh, the Weinberg (or Vainberg) with Leonid Kogan. More recently Vadim Repin recorded the former as a makeweight for the ubiquitous Tchaikovsky concerto, not a pairing with much appeal for specialist collectors. Repin, like Grubert, is placed close enough to mask orchestral detail, and his glorious tone colour is, for me, fatally compromised by Philips’s harsh yet woolly sound engineering. Grubert may be a less accomplished musician, his intonation is not quite flawless and his expressive range is narrower, but his instrument is reproduced more faithfully, and he is sympathetically accompanied by Yablonsky’s pick-up orchestra.

Gergiev, for Repin, can be unhelpfully brusque for all that his band is no ad hoc group. Traditional as it is, this is music that reveals its innermost secrets slowly, and its self-effacing brand of eloquence needs space. Not that either version quite convinces in the first movement’s interminable cadenza. You’d have to go back to Oistrakh’s 78s for that (there have been transfers on Pearl, Dante Lys and Classica d’Oro).

The edgier, less direct companion concerto dates from 1959 and a substantial utterance it proves to be. There are four movements. As such it is plainly indebted to Shostakovich, Weinberg’s friend and sometime protector, although there is arguably less overt ‘Jewishness’ here than in Shostakovich’s own First Violin Concerto, and there’s certainly more Bartók. The composer’s growing body of fans will tell you that the influence ran both ways. Polish-born and later resident in Moscow (hence the confusion over nomenclature), Weinberg very nearly fell victim to Stalin’s final anti-Semitic campaign, having earlier lost his family to the Nazis.

Naxos provides helpful notes by Per Skans, tracing the links between the Soviet composers and, at its modest asking price, this attractive package is well worth acquiring. True, it’s not all plain sailing. Some listeners will have difficulty with the soloist’s high-lying passages in the first movement of the Myaskovsky – disaster strikes at 6'10" – while the more strenuous stretches of the Weinberg do tend to grate on the ear. What matters is that both works deserve, and should now receive, a wider hearing.