Most substantial here is the Violin Concerto (1969) by Vyacheslav Nagovitsyn (b1939). The influence of his teacher Shostakovich may be evident in the opening Sinfonia – its fractious progress thrown into relief by the introspection from which it emerges then returns – but the hypnotic Ostinato and sardonic Finale hint at more individual expression. Sergey Slonimsky (b1932) has gained wider acclaim; and while his freewheeling stylistic approach often verges on the meretricious, Concerto primaverile (1983) is never less than diverting, the Baroque vigour of its outer movements framing a Romanza of unforced eloquence. If Phantasmagoria (1988) by Vladislav Uspensky (1937-2004) impresses more by its technical brilliance than musical substance, its cohesive progress from uneasy stasis to ethereal evanescence feels undeniable.

Equally certain is the soloists’ focus (not least a 14-year-old Maxim Vengerov) in conveying the qualities of each piece. Decent sound, with booklet notes awash in Soviet-era hyperbole.