With so little original material available, it’s not surprising that trumpet soloists resort to playing arrangements of music written for other forces. But for Tine Thing Helseth to rely entirely on songs as the second half of her recital was, perhaps, a transcription (there were 16, actually) too far.

Ravel’s Kaddisch and groups by Sibelius, Falla and Weill may have offered endless opportunities (so it seemed) to display Helseth’s burnished cantabile, formidable breath and dynamic control – which she did most impressively. But for her pianist, the multi-talented Kathryn Stott, the pickings were less generous, apart from a couple of dashing moments in Falla’s Siete Canciones Populare Espanole.

The first half explored much more interesting territory, although pieces by Helseth’s fellow Norwegians, Tveitt and Edvard Bull, and the Légende of Georges Enescu may have been included more for sentiment than quality. Hindemith’s Sonata for trumpet and piano and Helical Strake by Graham Fitkin, however, were totally different.

Fitkin’s piece, premiered by Helseth and Stott earlier this year, is a virtuoso tour de force that uses minimalism to exhilarating effect, constantly changing and subtly developing, as all music should do whatever its compositional style. Great fun, instantly attractive, it made a terrific impact.

For quite separate reasons so did the Sonata. Here, it was the tonal and emotional range both performers brought to the work; if nothing else it made abundantly clear why Hindemith is not the dry, workmanlike academic some critics regularly consign to music’s minor league. Time for a reassessment, perhaps?