The music is quite unlike Weill’s “Berlin cabaret” idiom and seems to resonate with an emotional ambivalence between an unsentimental nobility in the extended central largo, combined with wit and grace in the outer ones. The Concerto for violin and wind orchestra is completely neo-classical and somewhat prickly but, as one commentator observed, contains “roses among the thorns”.

The mood here is almost Hindemithian with occasional touches of Prokofiev and Stravinsky. Zimmermann plays with an appropriately pared down tone. The vocal works I find less satisfying and unlikely to reward repeated listening, despite fine singing. Elise Ross, conductor Simon Rattle’s first wife, doesn’t quite differentiate sufficiently between the various deadly sins (although is much better than Marianne Faithful).

No one can capture the desperation of either Anja Silja or Gisela May in this music, not to mention the 40-unfiltered-cigarettes-a-day croak of the incomparable Lotte Lenya.