David Hackbridge Johnson’s vigorously dark Tenth Symphony (2013) is in a single, imaginatively scored movement running for some 33 minutes. Its four sections (no passacaglias this time; the Ninth on Vol 1 – 6/17 – has two) give a clue to its atmosphere: Preludio tragico (strong arching lines, snarling brass evoking a vast landscape redolent of Roy Harris at his best), Marche funèbre (inspired by a dream set near the fortress cathedral of Albi in Southern France; wonderfully translucent orchestration), a terrific, Holstian Scherzo spettrale and concluding, not-at-all Baxian Epilogue.

My references to other composers are not to suggest any specific influences on Johnson or ‘stylistic impurities’, rather to indicate generally what his music occasionally sounds like. Johnson is his own man. Thus, the exuberant Thirteenth Symphony (2015), written in a state of euphoria after No 9’s recording sessions, opens in high spirits with a forward momentum not unlike Mennin, while the shimmering central Poco lento will appeal to any lover of Maw or Tippett.

The performances from the Royal Scottish National Orchestra (who seem to be enjoying something of a golden age of recording presently) under the excellent Paul Mann are wonderfully virtuoso, with some brilliant brass-playing and tremendous ensemble all round. With the meditative, refined orchestral Sixth Motet (2017) as filler and first-rate sound, do yourself a favour: buy this disc!