In celebration of Joseph Joachim, this programme brings together, alongside the pieces composed by the great violinist, works dedicated to him and arranged by him. The Schubert songs have a more tenuous connection and I imagine Joachim, with his high-minded attitude, would have hated the sugary Hollywood arrangement of the Dvorák Humoresque.

The Bruch is finely and vividly recorded. In Oramo’s hands the orchestration acquires a rich glow, with solo lines brought out most expressively. Hope brings to his interpretation glorious, full tone brilliance (in the finale) and expansive phrasing. I find the Adagio a fraction too slow – the melodies are more touching if they move forward more easily – and the first movement’s recitative passages seem excessively drawn out, too. After the last of these, the orchestral passage linking to the second movement already sounds like Adagio, rather than the passionate Allegro moderato of Bruch’s score.

The pieces with piano are all beautifully played (though “Auf dem Wasser zu singen” is surely too languid), and the “Geistliches Wiegenlied” is lovely. Hope, a fine violinist, ably follows Anne Sofie von Otter in returning to tranquillity after each of the more agitated episodes. The Hungarian Dances, with string orchestra, are spirited and idiomatic, even if Hope can’t quite match Joachim (who recorded one of these pieces in 1903) for expressive flexibility. And it’s very good to have a new recording of the haunting Joachim Notturno; the orchestral sound is just as fine as in the Bruch, and Hope is equally persuasive in the lyrical and decorative passages.