In the booklet Christopher Gunning recalls how, in 2012, a memorable ascent of Sugar Loaf in the Black Mountains near Abergavenny played a vital role in establishing the ‘predominantly lyrical and melodic but also quite florid’ character of his large-scale Violin Concerto, ideas for which had begun taking shape the previous year. The resulting canvas has something of the shimmering luminosity, graceful poise and soaring lyricism of the violin concertos by Szymanowski and Rubbra, albeit without those masterpieces’ sublime subtlety of expression, organic inevitability and distinctive thematic profile. No matter, Gunning’s remains a thoroughly rewarding, immensely likeable achievement, and Harriet Mackenzie proves an outstandingly assured and sensitive advocate. What’s more, she is partnered with the utmost sympathy by the RPO under the composer’s expert baton. The score, by the way, bears an affectionate dedication to flautist Catherine Handley, whose striking photo of the Monmouthshire Sugar Loaf adorns the cover.

If I’m marginally less smitten with the Cello Concerto, there’s still no denying its generosity of spirit, deft craftsmanship and abundant songfulness. Gunning relates how the opening movement (subtitled ‘Waltz Memories’) was inspired by an episode during a visit to a care home, where he witnessed music’s rejuvenatory powers at first hand, while the substantial finale (‘Lament, with Variations’) seems to acknowledge its counterpart in Walton’s sole, comparably nostalgic contribution to the genre. Needless to say, Richard Harwood gives a thoroughly convincing – and convinced – account, and once again the RPO respond eagerly both here and in Birdflight, a 12-minute orchestral essay of no mean skill and communicative flair.

Beautifully engineered by Mike Hatch in Southwark’s Henry Wood Hall, this impressive issue will, I fancy, make lots of new friends for the music of Christopher Gunning.