This disc contains some of Panufnik’s most intriguing music. The three concertos come from a wide chronological span, the Piano Concerto being the earliest, from 1963 (though it was revised twice), the Cello Concerto the latest, dating from 1991, the year of the composer’s death, with the Violin Concerto in the middle, having been written in 1971.

The Violin Concerto, written for Yehudi Menuhin, is given a gripping account by Alexander Sitkovetsky; he does not underplay its darkness but neither does he miss its soaring, aspirational quality, especially in the remarkable second movement, or let up the tension, and in this he is aided and abetted in outstanding fashion by the Berlin Konzerthaus Orchestra. There is darkness also in the Cello Concerto, Panufnik’s last composition, written for Rostropovich; indeed, it seems to emerge from the Stygian gloom, only gradually assuming presence, but it is also a work of aspiration, the solo line climbing ever higher, like a tendril searching for the light. It is a two-movement work, comprising an Adagio and a hugely gripping Vivace, and as usual with Panufnik is based on geometrical design, in this case the mandorla. Raphael Wallfisch’s performance is electric.

The Piano Concerto was certainly the right choice to end this disc, if one listens to it straight through: it’s an exuberant, colourful work, premiered in its final form by John Ogdon in 1983. One of the composer’s aims was to give a really significant role to the orchestra, and this is certainly the case, though at the same time there is no gainsaying the work’s status as a genuine, virtuoso concerto. The intimate, fragile second movement is surely one of Panufnik’s most original creations. Again, the performance by orchestra and soloist – here Ewa Kupiec – is outstanding, under the sure guidance of ukasz Borowicz, and beautifully recorded.