This Naxos release draws on a number of sources to present a complete cycle of the seven symphonies by the Belgian composer Marcel Poot (1901-88), whose extensive and distinctive output remains little represented on record. Despite encompassing a span of almost 60 years, the symphonies have a number of characteristics in common, including a firmly tonal basis, a three-movement structure and a maximum playing time of 25 minutes. The earliest among them, completed in 1929, is a strongly extrovert piece featuring an irresistibly catchy theme in the first movement, an appealing Ravel-inspired slow movement and a jazzy, rowdy finale. The Second Symphony of 1937 follows the same pattern, although the rapt and contemplative Andante tranquillo reflects a deepened artistic sensibility.

Fifteen years later, the Third Symphony’s pummelling outer movements and solemn Andante funerale represent a seriousness of purpose largely absent from its predecessors. The musical language here is not far from that of Shostakovich and Weinberg. After a further interval of 18 years, four further symphonies appeared, each separated from its predecessor by four years, the last dating from 1982 when Poot was 81. Tautly structured opening statements, searching slow movements, lively finales and an economy of scoring mark these later works.

The recordings of Symphonies Nos 3, 5, 6 and 7 were previously released on CD by Marco Polo and enjoy authoritative interpretations by the late Frédéric Devreese, a former student of Poot’s at the Royal Conservatory of Brussels. The recording of No 4, originally released in the 1970s on the Belgian label Cultura, features a superlative performance by Léonce Gras, the playing of the Antwerp Philharmonic marvellously well drilled and propulsive. The previously unreleased recordings of Nos 1 and 2 derive from Belgian Radio and also feature top-notch performances, particularly that of the Second Symphony, which is conducted by the work’s dedicatee, Franz André. In terms of audio quality, the results are adequate rather than impressive, especially the 1990s Marco Polo recordings, which sound rather veiled. Naxos lists the 1960 radio recording of No 2 as being in mono, although what we actually get is a two-channel audio mix with an ambient effect. Don’t let the sound put you off, however, for this is a set not to be missed, the excellent interpretations on offer here, especially those of Symphonies Nos 2 and 4, lingering long in the memory.