Hard on the heels of the release of Kenneth Woods and the English Symphony Orchestra’s fifth instalment (devoted to Steve Elcock – 7/24) in their terrific ‘21st Century Symphony Project’ series comes the sixth, devoted to Robert Saxton. Once more it is full of captivating music-making, two remarkable and compelling compositions, magnificently played, but it may also be – as we move past the halfway point of the project – the most challenging issue thus far.

The challenge arises from the fact that neither work is titled ‘symphony’. The Resurrection of the Soldiers (2016) is a searing, intense work for string orchestra, one that should by rights take its place among the finest English works for string orchestra. It falls into one continuous span, dividing naturally into three large paragraphs across a not-quite-quarter-hour timespan, and was written for the English Symphony Orchestra and George Vass (to whom it is dedicated) for the Presteigne Festival. Inspired by Stanley Spencer’s series of paintings for the Sandham Memorial Chapel, The Resurrection of the Soldiers is more tone poem, perhaps, but it has the gravitas of a one-movement symphony, not least through its central fugue and consolatory conclusion.

The larger piece, the five-movement Scenes from The Epic of Gilgamesh (2022) is another matter. This is the composition written for Woods and prompts the question: ‘What is a symphony?’ At one level, this is a closely argued suite derived from the great Mesopotamian text, around which Saxton had long wanted to compose a work. The musical language is broadly tonal and appealingly descriptive, its succession of vigorous sections and threnodies, and a finale worthy of Tippett at his best, echoing the trials of King Gilgamesh with his friend Enkidu. It is a haunting work, proving (were it needed) that musical impact or relevance need not come from extremes of sonority, harmony or style. The ESO respond with a fabulous interpretation, informed by immaculate ensemble and intonation (with some superb solo and duo playing along the way), one that stayed on loop in my player. Is it a symphony? In its scope, expressive élan and integration, I would say yes. Yet another thoroughly gripping, intriguing album, strongly recommended, as are its five predecessors.