Purely for sound quality, this third disc in Dutton’s welcome exploration of Montague Phillips’s music must qualify as an award-winner. It is a sumptuous, full-blooded recording with a richly resonant bass (Michael Ponder and Dexter Newman in the Town Hall, Watford) matched by the soloist’s powerful Fazioli.

Both concertos are real finds. I can only repeat my oft-expressed mystification why such works have been left to gather dust. The F sharp minor First Concerto (1907) has not been played for more than 95 years; the E major (1919) especially, once a favourite of conductor Vilem Tausky, is tremendously effective. It would bring the house down were it played at the Proms again (it received its premiere there in 1920) if only for the last movement’s big tune which simultaneously combines Celtic lament, Elgarian nobilmente and a (prescient) celluloid weepie. True, the orchestra has the best of this, but the soloist, by the time of its final full statement, has earned a few bars’ rest. Talking of whom, Norris gives the performance of his life in these two works, handling the bravura writing (and there’s a lot of it) with aplomb and total conviction. He also has a marvellous repose at the keyboard – in the slow movement of the First Concerto, for example, before it builds to its shattering climax. Less, he knows, is more.

The final (eight-minute) work, aptly subtitled “Cum Grano Salis” is, as the composer noted only three years after its publication in 1931, “hopelessly out of date” and a somewhat bathetic appendage to the grand romance of Phillips’s concertos.