His First Concerto is firmly in the tradition of Viotti, his mentor, in its bold, impassioned minor-key manner. Eichhorn relishes the virtuosity of the writing, as well as the delicacy of some of the passagework and the classical poise of the more lyrical moments. But there are some unconvincing tempo changes: in the first movement, a passage in triplets suddenly pushes forwards, while in the Polonaise finale a sprightly initial speed has to slow down to accommodate very fast passages. Surely it would be better to find a more poised tempo that would still be lively but plausible for the brilliant passagework.

The Fifth Concerto is a subtler, more individual work, with memorable writing for woodwind. The second movement, a minor-key Siciliano, and the following ‘Rondo à la russe’ are especially attractive. The Ninth Concerto is perhaps less striking, although the way Rode, in the wake of Mozart, blends forceful and lyrical characters in the first movement is most effective, and the highly ornamented Cavatina gives a splendid idea of Rode’s expressive style as a player. Eichhorn plays this, and the cantabile music generally, very lightly; I’d have welcomed a more soulful, emotional approach. But, all in all, the issue makes us well aware of Rode’s gifts as a composer.