The National Symphony Orchestra is superbly showcased, every section adding vivid detail, and Noseda draws out both the character and the narrative of each score. In the booklet, the conductor writes warmly of how living with these works has enriched his knowledge of the music America produced in the last century, and he hopes they will find the wide following they deserve. On this evidence, they should. These are not museum pieces dusted off out of duty but symphonies that sound as though they have been part of the repertoire all along, and we had simply mislaid them. Consider them found.

Since the arrival of streaming, physical music formats have been largely talked out of existence. Cars no longer have CD players and the smartphone has replaced the once-popular Walkman as the on-the-go music device of choice. But new data suggests all may not be as it seems.

Initially known as a sextet called Six As One, then later renamed as IOYO, the Sligo-born boyband Westlife came to the attention of Louis Walsh very quickly. Seeing potential in three of the six members, he quickly decided he needed to audition for a better line-up, and on July 3, 1998, Westside was born.

Shortly before his death, Scotts gave his former pupil the scores he had gathered over a lifetime of playing, and nearly every piece here comes from that bequest. That gives the programme its character. Much of this music vanished from publishers’ catalogues long ago, and what survives in the collection tells you as much about Scotts’ personality as about the concerts he gave. Savage wanted the album to bring back the teacher he knew: a player of charm and dazzling technique, quick to laugh and generous to a fault. He makes a pointed case against the familiar myth of the great teacher as a tyrant at the music stand. This is a recording in praise of kindness in the teaching room, and it is all the more appealing for it.

For one weekend this month, the most cosmopolitan address in Yorkshire will be a Victorian pavilion perched above the North Sea.

Her playing is fluent throughout, her agility impressive and her rhythmic precision unerring, while soloist and orchestra alike embrace the full Romantic sweep of these scores. Period instruments are often sold as a corrective to excess; here they serve the opposite purpose, lending these concertos a warmth and freshness that makes a persuasive case for all three.