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Glazunov’s romantic concerto provides a balm after the terrors and intensity of the Shostakovich: held back from performance until Stalin’s dictatorship was over. There was far slighter music by that composer – ‘Romance’ from The Gadfly – in Benedetti’s 2012 Decca collaboration with the Bournemouth Orchestra and its Ukranian chief conductor, The Silver Violin. Here, she rises to the challenges of music written for Oistrakh, whose 1955 New York benchmark recording is now on Sony. There’s something of a Heifetzian concentration in her playing (and the coupling sounds even more like a live performance) so it’s a shame she’s given full stage width for the long cadenza and we briefly get a ‘wrong end of a telescope’ effect as the Burlesque opens, although the ear quickly adapts.

Coming to this album with no knowledge of who or what Monkey House were, I played it through the first time with a nagging feeling that it sounded very familiar – or at least very like something familiar. Reading a little of the background cemented that feeling: this set led by Canadian singer/songwriter/producer Don Breithaupt has definite overtones of ‘the album Steely Dan never made’, from its brass arrangements and backing vocals to the sound of the guitars. This is hardly surprising as guitarists Elliott Randall and Drew Zingg are both part of the current Dan line-up, and trumpeter Michael Leonhart their current musical director. Recorded at Toronto’s Drive Shed studios, this set may not be as musically inventive as prime Dan, but the sound is big, lush and constantly interesting – and that’s not just for those nods and hints along the way.

Available in various formats, with sample tracks at www. 2l. no, this Mozart album has featured as a reference in more than one HFN hardware review, and was this year remastered in conjunction with Bob Stuart using MQA technology. It is certainly a fine production with stable balances, an intimate scale, realistic string timbres and just a hint of decay as movements end.

This is the big-label debut by the young Norwegian composer Ola Gjeilo, some of whose work may be familiar from recordings on the enterprising 2L label – for example, the ‘Ubi Caritas’ opening this set is also available as on his Piano Improvisations album [2L-082]. A former Classic FM album of the week (but let’s not hold that against it), this set sees Gjeilo’s work performed by some top-notch singers in the form of Tenebrae and Voces 8, with the strings of the title provided by the London Chamber Orchestra and the piano by Gjeilo himself. It’s a programme of unmistakably Nordic music, ranging from the sacred to the secular, and is treated to a wonderfully detailed and ethereal sound well-suited to the content, especially in the tracks evoking the landscape so familiar to the composer. Yes, perhaps it’s somewhat ‘classical-fusion’, but it’s definitely hugely enjoyable.