For those familiar with his music, it’s often easy to forget that Stephen Goss’s output extends beyond a substantial body of works for classical guitar. For evidence, look no further than this substantial three-disc set containing close to four hours of music by this under-the-radar composer.

Of the non-guitar pieces, highlights include the neoclassical River Winds for violin and piano – its impact intensified by violinist Tatiana Berman’s expressive performance in the first and last movements – or the aptly titled Caught Between for cello and piano, whose fiery and abrasive opening and propulsive, blues-infused ending are offset by moments of delicate introspection: cellist Thomas Carroll and accompanist Graham Caskie are always alert to these sudden changes in musical direction. The direction of travel extends still further in the Impressionist-tinged Rough Music for spoken voice and piano, and celestial-sounding, ambient-inspired The Sea of the Edge for flute and electronics.

Given the range of influences – from John Adams and Thomas Adès to Frank Zappa and John Zorn – one is sometimes left wondering where Goss’s true voice is found. Perhaps the answer lies not so much in a pluralistic topography containing many musical landmarks as in the presence of the guitar itself, which often acts as a focal point for Goss’s creativity, whether in the film-soundtrack-like Marylebone Elegy for solo guitar and orchestra, featuring John Williams, the lively 12-movement suite Cocktail List for guitar duo, with its colourful mix of allusions and quotations, or the Theorbo Concerto.

Benefiting from a standout performance by theorbist Matthew Wadsworth, the Scottish Chamber Orchestra and conductor Benjamin Marquise Gilmore, the latter somehow manages to integrate these elements – ‘Goss-isms’, if you will – within the space of less than 20 minutes without ever sounding anything other than true to itself, its composer and the medium for which it is written, which is perhaps not always true in every case.