If Larsson’s First Symphony (A/14) is something of a mash-up of different styles and influences, then its successor from 1936-37 is again rather derivative, owing much to early Sibelius (whose influence dominated the First’s finale) and Tchaikovsky, though there are splashes of Nielsen in a slow movement marred by less than elevated writing in its contrasting central episode. Nonetheless, the Second Symphony’s expressive world is of a more dramatic turn, the structure a little tighter but still allowing room for expansiveness.

The Variations for Orchestra (1962) is a far finer achievement, in the composer’s later, tauter but still appealing language, a convincingly symphonic edifice built from the 12-note theme. Reminiscences of Sibelius still recur – not least of Tapiola late on – but this is more consistently Larsson than the earlier symphonies. There are opportunities aplenty for orchestral solos and ensemble writing, so the title could have been ‘Symphonic Variations’ or even ‘Concerto for Orchestra’! Here particularly the players of the Helsingborg Symphony Orchestra are put on their collective mettle and, under Andrew Manze’s firm and clear direction, they shine.

The Barococo suite (1973) was one of Larsson’s last published works and is the most relaxed music here. Indeed, at times too relaxed, the pastiche of much of the invention (a mix of Strauss and early Shostakovich film and ballet music, among other things) tumbling into the trivial, as in the concluding Quadrille-Galopp. There are some barely disguised parodies, too. Splendid sound once again from CPO, in the warm acoustic of Helsingborg’s Konserthuset.