Having earlier recorded the violin sonatas (Challenge Classics, 9/13), Violin Concerto (7/14), violin Concertino (9/15) and solo violin sonatas (9/16), Linus Roth now turns to almost all of Weinberg’s remaining music featuring violin for a diverse but not unrepresentative miscellany.

Less familiar than the earlier Piano Quintet, the Piano Trio (1945) is equally characteristic in its resourceful usage of classical forms or the cumulative impact of its emotional trajectory – a starkly contrasted ‘Prelude and Aria’ leading to a propulsive ‘Toccata’ then a ‘Poem’ that builds inexorably from its initial introspection. The finale fuses aspects of fantasy and fugue through to an explosive climax, a lengthy postlude duly recalling earlier ideas at an affecting remove. Roth, Danjulo Ishizaka and José Gallardo are not found wanting in this fine account.

Roth and Janusz Wawrowski are comparably committed in the Sonata for two violins (1959), among the last of Weinberg’s chamber works to be recorded and a portent of things to come in the tensile energy of its initial Allegro, then the inward yet increasingly ominous nocturne of its central Adagio. Such intensity is leavened though by no means diluted in the final Allegretto, its lyricism and equability increasingly at a premium in Weinberg’s music hereon. Certainly, this piece need fear few comparisons within the inevitably limited repertoire for its medium.

There follows the second outing for Two Songs without Words (1947), only recently located in a Moscow archive, its soulful Andantino then wistful Larghetto exuding a melodic directness found in much of Weinberg’s music from the fraught last phase of Stalin’s reign. Also here is the first recording for a Largo of limpid pathos that Weinberg wrote, likely in the early 1980s, as a substitute slow movement for his Second Sonata; another of those cryptic assignations with the past in which his later music abounds. Roth and Gallardo do all three pieces proud.

The sound is admirable in its clarity and less unyielding than the previous releases, and Roth’s notes are perceptive without becoming wantonly enthusiastic. He deserves credit from Weinberg devotees and newcomers alike for such formidable and unstinting advocacy.