There was a time, not so long ago, when recordings of Havergal Brian were non-existent; today, most of the symphonies have been recorded and we even have alternative versions of some. Admittedly, these secondary interpretations are generally of historic performances from the BBC archives but they are none the worse for that – indeed, they are hugely instructive in documenting the emergence of the slowly growing tradition of Brian performance.

In the case of Dr Merryheart (1911‑12), that tradition is the deepest as this bright, Straussian “comedy overture” is Brian’s most-performed orchestral score, with 16 performances and three recordings in all. Heald-Smith’s is not competitive, the young Hull players outclassed by their senior Irish rivals as well as the 1959 LSO. Leaper’s remains the benchmark by virtue of its more solid playing and first-rate sound but Dutton’s new release scrubs up splendidly. Newstone’s more sedate account (by two-and-a-half minutes) still holds together.

In Symphony No 9 (1951), Del Mar’s fully convincing rendition is much closer in profile to Groves’s, although there are notable differences in tempo – just compare the varying views of what constitutes adagio in the Introduction. Groves overall edges the decision but there is some delicious playing from the LSO winds in the central Adagio, and Del Mar’s orchestral balance in the final coda for the clangorous percussion is superior. Honours are fairly even in the Eleventh (1954), once sound quality is set aside. This is one of Brian’s least-appreciated symphonies but its writing is as splendid as its structure is unorthodox. For this work alone the disc is worth investing in but there is much to enjoy throughout. Highly recommended.