De’Ath has kept the Scott signature tune Lotus Land to open this last volume – unusually he’s a bit wayward although not as bad as Scott himself, heard on the first volume. But the Pierrot Pieces are lovely; Rainbow Trout scintillates to perfection; and Poems is as fine as any of Scott’s cycles. The five pieces are teeming with rhythmic invention and atmospheric gestures, notably in “Bells”. He wrote the accompanying prefatory poems too – in an idiom somewhere between Keats and Stefan George, whom Scott knew – and the texts can be found online.

Scott’s friend Percy Grainger called him a “perpendicular” composer because, like Delius, his style was rooted in chords; but he was also a melodist. Scott’s arrangements of three British melodies come close to Grainger’s gilded-lily splurges and there’s a whiff of Scriabin in the slow sections of the nifty Caprice chinois. Miss Remington is a rare comic piece evoking the sound of an old-fashioned typewriter, and the Pastoral Ode (1961) is an isolated example of Scott’s austere late style.

This consistently admirable series – 125 of 191 tracks are first recordings – contains such a quantity of immediately attractive piano music that you’d expect to hear something on Classic FM every week.