The sudden death of Madeleine Dring in 1977 at the age of just 53 cut short a multi-faceted portfolio life spent composing, arranging, singing and acting in both theatre and concert-hall, a career feeding off the energy of tight deadlines and pragmatic musical problems to solve. Centuries earlier she might have praised as a polymath, but in the 20th century – suspicious of dilettantism and ever-mindful of genius – Dring fell (like several of her female contemporaries) outside acceptable classical parameters.

A partial edition of Dring’s songs has latterly helped address the neglect, as has the championship of her widower, long-time LSO Principal Oboist Roger Lord. Dring’s works – many conveniently small-scale, ripe for recital-cameos – are beginning to creep more regularly into both recordings and live performance, and her set of Five Betjeman songs has found a solid foothold in the repertoire. But what about the rest?

British mezzo Kitty Whately and pianist Julius Drake are the latest musicians to take up Dring’s musical banner in this pick-n-mix program that largely eschews complete cycles in...