The play on earlier aesthetics was an integral feature of 20th-century music, as this collection attests. Suite italienne (1933) derives from the ballet Pulcinella that launched Stravinsky's neo-classical phase, while Tartiniana seconda (1956) transforms the Baroque virtuoso's style into the intricately contrapuntal idiom characterising Dallapiccola's later output. Daniel Rubenstein and Muhiddin Dürrüoglu-Demiriz bring robustness and sensitivity to the first piece and catch the incisive elegance of the Dallapiccola - not least in its touching “Variazioni” finale.

Even finer is Schnittke's Suite in the Old Style (1972) - an unassuming by-product of his provocative First Symphony, given here with a combination of wit and a deft irony that makes the closing “Pantomime”, in particular, convey more than it states. Lutoslawski's Partita (1984) pays tribute to the Baroque both in the coursing energy of its outer movements and intense pathos of its central Largo; as also its extemporised “ad lib” sections whose successful realisation - as here - is crucial to the effectiveness of the overall work.

Welcome also is the inclusion of music by two much less familiar composers: the Belgian Frédéric Van Rossum, whose Graffiti (1968) is a tensile sonatina packing a high degree of incident into its four minutes; and the American Don Freund, whose Sonapartita, noch nach Bach (2001) pays thoughtful homage to Bach's solo violin music - not least in the wistful poignancy of its final “Siciliano”. Decent if close-miked sound, informative notes and a disc that, as with all good recitals, makes coherent listening in its own right.