The only gripe I have with this otherwise splendid CD is the fact that the three works are not presented in chronological order, especially as they represent the three distinct musical periods in Szymanowski’s chameleon-like composing career and are quite different from each other in idiom. The otherwise excellent Chandos usually gets this sort of thing right.

In its “spangled bumptiousness”, as one deathless description had it, the Concert Overture, composed in 1904, is an unashamed homage to Richard Strauss, especially reminiscent of Don Juan with the opening vaulting motif followed by the a tender, lyrical theme. I hope it won’t be the kiss of death when I reveal that the Second Symphony (1909-10) was influenced by Max Reger’s fin-de-siècle hothouse chromaticism, although, fortunately, it lacks his academic dryness. The idiom is more akin to the intense ambience of Schoenberg’s Pelleas und Melisande, though without its thicket-like orchestral textures. It begins curiously with a violin solo, and moments of intimacy are overshadowed by a hankering for expressive climaxes. The second movement opens with a lovely string melody followed by charming Rococo variations including a gavotte and a minuet before the various strands are woven into a highly convincing contrapuntal finale.

The so-called Fourth Symphony, the Symphonie Concertante of 1932, is a piano concerto in all but name. Here, we enter the world of Prokofiev. While not exactly neoclassical, the orchestral textures are more transparent, the rhythms more piquant and the melodies more jagged and kaleidoscopic. Louis Lortie, with his Gallic elegance and wit, was a perfect choice, especially in the gorgeous passage for flute, violin and piano in the slow movement. Edward Gardner (pictured) and the BBC Symphony Orchestra are also onto a winner here: they perform this usually elusive music to the manner born. The sound and balances are all excellent.