The Cello Symphony was one of Britten’s few substantial pieces of abstract symphonic music, and rather than dubbing it a concerto he places the soloist on more equal footing within the orchestral texture. The orchestration is just as vivid as his music for voice, but it is also one of the composer’s most fierce and challenging scores. The Chandos sound gives much-needed warmth to this angular, thorny terrain.

The cello is less forward – and more introspective – than in Pieter Wispelwey’s recent recording, maintaining Britten’s desired balance. By the same token, Paul Watkins doesn’t have quite as much bite as the work’s dedicatee Rostropovich in the 1965 premiere recording conducted by Britten. Watkins maintains edge-of-your-seat energy throughout, particularly in the gutsy Presto inquieto where his virtuosic flair is matched by profound lyricism. The third-movement cadenza and its burnished trumpet obbligato are a highlight.

In the Four Sea Interludes from Peter Grimes, Edward Gardner expertly explores the contrast in Britten’s palette, most effectively in the limpid precision of the BBC Philharmonic strings. The North Sea’s vast beauty, the lilt of maritime village life, and the underlying warning of what the harsh elements may have in store – all these are here.

Although a disc of Britten’s orchestral music is most welcome, it is a pleasure also to hear the seductively light-voiced Robert Murray in the suite from the 1953 Elizabethan-styled opera Gloriana: the Lute Song was originally performed by tenor Peter Pears. Delightfully crisp courtly dances are a treat, too.