Moeran conceived the wistfully lyrical Cello Concerto (arguably his supreme achievement) in 1945 for his wife, the Irish cellist Peers Coetmore. Cogently plotted and scored with canny lightness of touch, it’s full of the most heart-stoppingly beautiful inspiration, which in turn irresistibly evokes the glorious coastal landscape of the composer’s beloved County Kerry. Guy Johnston responds with heaps of poetry and selfless dedication, his manner softer-spoken than that of Raphael Wallfisch on his urgently communicative Chandos version with Norman Del Mar (9/86), and with none of the technical shortcomings that tarnish Coetmore’s otherwise deeply affecting Lyrita account with Boult and the LPO (7/70).

The Ulster Orchestra under JoAnn Falletta are certainly on their toes both here and in the three remaining items, though cherished memories of Vernon Handley’s world premiere recording (Chandos, 3/91) of the 1948 Serenade in its original eight-movement guise are by no means eclipsed. Towards the end of the gorgeous orchestral impression Lonely Waters (1930) soprano Rebekah Coffey delivers the eponymous Norfolk folksong with disarming freshness, though she seems to be placed closer to the front of the platform than the composer requests. Falletta’s distinctively upbeat rendering of Whythorne’s Shadow (1931) rounds off proceedings with a most engaging spring to its step.

The Ulster Hall sound has perhaps fractionally less warmth and lustre than I would have liked (string tone is a touch clinical), though Johnston’s solo contribution is ideally captured. Tiny niggles aside, this is a very welcome release.