As far as composer Juan Pablo Jofre Romarion is aware, there is no double concerto for violin and bandoneon, aside from the one Jofre composed at Michael Guttman’s request in 2016 17 and recorded on what is effectively a CD single. Piazzolla did write a double concerto for bandoneón and guitar, and Daniel Binelli has written others with cello or piano. The Norwegian composer Sverre Indris Joner’s Vino y se fué is scored for bandoneón, violin and bass with optional orchestral accompaniment but is not concerto-sized.

Jofre is a member of the Hard Tango ensemble (two of whose members, pianist Pablo Cafici – who also mixed the sound – and percussionist Mariana Ramirez augment the strings of the Orpheus Chamber Orchestra) and the sound world of his own music sits squarely in the nuevo tango tradition established by his compatriot Piazzolla. The Double Concerto itself is in three movements: an Allegro preceded by a slower Introduction, a rather saccharine, at times schmaltzy Adagio and a vibrant concluding Milonga prefaced by a brief Cadenza, initially for the violin unaccompanied but joined by the bandoneón later. The music has few pretentions of great depth: the Adagio is an expressive and tender creation and the faster main sections of the outer movements generate a deal of rhythmic excitement.

Guttman and Jofre play with verve and the Orpheus Chamber Orchestra accompany with élan. The whole work is less than 20 minutes long, however, and the fillers – and I use the term quite wrongly on a disc lasting under 30 minutes – are three pleasant enough but rather bland duets for Guttman and Jofre alone. Recorded in two locations, New York and Freiburg, the sound has been well mastered by Alan Silverman.