Philippe Quint’s distinguished discography mixes standard repertoire with less familiar fare, such as concertos by Corigliano (The Red Violin, 9/08), Rorem and Schuman, among others, so it is fitting that on this superbly recorded celebratory issue, marking 30 years since his professional debut, he provides three important first recordings, all for women composers, one of whom – Lora Kvint – is his mother.

Lera Auerbach’s First Concerto was commissioned for Quint in 2000 but amended to a sonata with piano that same year. However, after completing it (and a second sonata in 2001), the composer – feeling that her sonata was orchestral in nature – restored the music in 2003 as a concerto. (She then converted that Second Sonata into her Second Violin Concerto in 2004!) Everything stems from the explosive opening (‘Deathclusters’ is her term for it) and contrasting lyrical desolation, through a spectral scherzo, haunted passacaglia and closing dance of defiance: a work for 2025 if ever there was one. Set down in May 2024, Quint’s claim that this constitutes ‘her first large symphonic work commercially recorded’ needs qualification given Navona’s issue last December of her First Symphony, Chimera (in a performance from 2019).

Quint certainly provides a compelling performance, astutely accompanied by the Royal Scottish National Orchestra under Andrew Litton’s expert baton, who are on top form for Errollyn Wallen’s thoughtfully scintillating Concerto (2023), too. If less apocalyptic in tone, the storytelling is just as acute, Wallen weaving biographical references from Quint’s Russian childhood into the musical fabric, particularly in the central Lamenting, with its echoes of church bells and a lullaby, capped by the finale’s raucous welcome to America. Quint responds with playing of depth and understandable emotion, scarcely less than that he gives to his mother’s virtuosic Odyssey Rhapsody (2023). If not quite of the same calibre as the concertos, it proves an engaging listen in Quint’s hands, partnered by Litton at the piano, as he is for the encore, Florence Price’s much-arranged Adoration (1951). This is an unusually fleet account at a touch under 2'30", but still sweet in tone.