David Berlin and Len Vorster deliver the music superbly, with dazzling playing of the highest order. Along with Aaron Copland, Samuel Barber was the composer who did the most to secure the place of American composition during the middle of the 20th century. His award-winning Cello Sonata is a compelling work in which his musical ideas are strong and well presented.

The effective contrast with Bloch’s From Jewish Life (1924) is dramatic. This is Jewish music par excellence, and its distinctive character, the voice of the cantor, resonates throughout the work. In Suite populaire espagnole by Manuel de Falla, we have another strong contrast with the other works. After the troubled voice of Bloch’s cantor, the sunny, invigorating music of Spain is dramatic. The six sections of the work run the gamut of the composer’s accessible style.

Staying in Spain, Madrigal (1915) by Enrique Granados, has more in common with Bloch’s piece. Based on one of his songs, it is a passionately wrought aria for cello. It was also one of the last things he wrote before he drowned.

Toward the end of Debussy’s life, the composer tried to re-establish a link back to classical French composition. One work exploring this theme was the Cello Sonata – an energetic piece in which you will look in vain for the Debussy of Prélude à l’après-midi d’un faune. It requires great technical skill and these performers come through with flying colours.