Hope announces himself quietly on Johann Paul von Westhoff’s Imitazione delle campane, one of three ‘traditional’ works featured here. Of the other two, Fauré’s Cantique de Jean Racine sits less comfortably alongside Glass’s industrious Echorus and Lera Auerbach’s haunting, fragile Adagio sognando. Auerbach, like Einaudi, is represented twice but it is Alex Baranowski’s brace that really stood out for me. Hope is building a habit of seeking out and showcasing emerging talent, and in Baranowski’s Musica universalis, his violin soars impressively above a series of shifting chords punctuated by a pulsing piano pattern.

Along with Gabriel Prokofiev’s more agitated Spheres, these two works get to the core of the album’s main concept. To be sure, the planetary link is occasionally tenuous, although Nyman’s ‘Trysting Fields’ originally accompanied a skipping girl counting the stars in the sky in the opening scene from Peter Greenaway’s film Drowning by Numbers. Arvo Pärt’s Fratres is more transcendental than celestial but Hope’s performance exudes both virtuosity and romanticism, as if drawing inspiration from Paganini and Joachim in equal measure. Supported by the Deutsches Kammerorchester Berlin under Simon Halsey and assisted by the warm, resonant acoustics of the Funkhaus Berlin, ‘Spheres’ is, at times, quite literally out of this world.