This is such an attractive programme that it’s hard to credit that three of the works here are receiving their first recording. Damian Iorio and his Swiss orchestra give lively performances of four bright, broadly neoclassical orchestral suites by mid-20th-century Italian composers whom many listeners will know principally by name, if at all.

And hands up: until now I knew Giorgio Ghedini only as Berio’s teacher. His Concerto grosso sets the general tone: brisk, zesty music driven by the twin impulses of song and dance, and scored in primary colours. If his ideas aren’t all terribly distinctive, there’s no problem on that score in the 10 smartly crafted miniature movements of Casella’s ballet-derived Divertimento per Fulvia. It’s the only piece here to have been recorded before but Iorio’s account holds up well against Alun Francis on CPO. He maintains an invigorating momentum, and the OSI’s wind and brass have confidence by the bucketload.

I’d have liked a little more body to the string sound, but that’s only really a problem in the mock-exotic doodlings of Malipiero’s Oriente immaginario, which its composer disowned. In Franco Donatoni’s Musica it actually helps bring out the vivid wind and percussion colours of this youthful exercise in 12-note composition – imagine a riper, more sun-kissed Webern. Donatoni apparently described it as ‘my worst piece’, though David Gallagher’s fascinating booklet-notes gamely insist otherwise. Decide for yourself. Iorio and his players find in it the same buoyancy and lyricism as they do in each of the works on this intriguing and entertaining disc.