Although the harpsichord fell out of favour almost entirely once the piano got into its stride in the 19th century, it made a comeback in the 20th, inspired in part, though not exclusively, by the Neo-Classical movement. Of course, one of the reasons it faded from sight was its modest volume in proportion to the increasing size of the standard symphony orchestra. The idea of a ‘modern’ harpsichord concerto thus poses a special challenge, but one that several important 20th-century composers proved game to take up.

Justin Taylor’s survey includes three of the most important while managing to span five decades, from Manuel de Falla and Francis Poulenc in the 1920s to Henryk Górecki in 1980. For good measure he throws in a charming suite by Jean Françaix and zesty palate cleansers by Bartók, Gassot, Martinů and Scott Joplin.

Although conceived for piano, Bartók’s Hommage à J. S. B. from Book III of his Mikrokosmos makes perfect sense on the harpsichord. It’s baroque sensibilities, undermined by some thoroughly modernist harmonic twists and turns, sets the mood for the stylistic...