Revision is the key element in this programme of music by Tom Armstrong (b1968). At its most straightforward, in the concluding work for violin and piano, Akin (2008), this amounts to minor adjustments such as any composer might seek to make after a performance or ahead of publication. At the other extreme lie the piano trio Divertissements (2009) – based on an earlier work for electric guitar and harpsichord, and itself undergoing a further revision – and Diversions 3 (2015), a more thoroughgoing recomposition of the same original, dropping the harpsichord for an optional extra instrument, in this account the cello of Audrey Riley. It is fascinating to hear the triologue of the one recast as a multifaceted duologue in which the players can begin on any page and play or omit whichever they like – but never reprise one.

Diversions 3 here is noticeably (about 50 per cent) longer than Divertissements and the same is true for the two versions of Dance Maze. The original Variations (1994) have been twice revised (2008, 2017), by which time Armstrong had created Duos for trumpet and piano (2016 17). Here again the original’s structure has been fundamentally altered so both are independent works on the same material. Morning Music (2012 15) is a finale-heavy suite for piano, its three movements collated in stages. The finale, ‘Aubade’, also exists as a ‘severe compression’, Replay (2015), not included here.

The performances are committed, the standouts being Jacob Fichert’s of Dance Maze: Variations, Simon Desbruslais’s of Duos (accompanied by Fichert) and the Fidelio Trio’s Divertissements, but in truth they are all first-rate. If Nicola Meecham’s account of Morning Music does not make the same impression it is because, in my view, the piece is overbalanced by the finale. Excellent, clear sound from Resonus.