Many composers have turned to the symphony later in life, usually to produce a solitary example – as in the cases of Franck or Kodály – but few have started so late (aged 63) and gone on to revisit the form so frequently (seven symphonies in 14 years) as Ernst Toch (1887-1964). A fluent and innovatory symphonist, Toch’s first essay – as with Martinu, another symphonic late-starter (early in his fifties) – is relatively traditional, in four movements, the scherzo placed second.

Underneath the surface, however, matters are quite different with barely a trace of orthodox sonata or even variation form, each movement unfolding in a unique way, determined by the material though more organically than in a fantasia. Toch’s structural approach was not unlike that of Holmboe – a former pupil – in his later symphonies or even Havergal Brian or Robert Simpson in Britain. If there are stylistic resonances of another composer, it is 1950s Hindemith, himself a far from orthodox symphonist. The multi-faceted and intense opening movement belies its Molto tranquillo marking (the central section is an Allegro moderato) and is succeeded by a dance-like scherzo. In the dark, brooding Langsam, zart, and slightly martial, Allegro non troppo finale it is easy to hear resonances from the then-recent world war (Toch wrote the work in the Vienna of Harry Lime, with evidence of the conflict all around him).

The Fourth, by contrast, was written in the New Hampshire artists’ colony run by Edward MacDowell’s widow, Marian, and is dedicated to her memory. Kaleidoscopic in mood and texture, the Fourth is almost a concerto for orchestra, again with protracted outer movements around a sparkling scherzo. Alun Francis once more procures excellent performances (although some of the stratospheric string writing leaves both strings and wind a tad exposed) in very clear sound. A marvellous conclusion to the series but not, one hopes, to CPO’s advocacy of Toch.