This was a fascinating discovery. Wilson – a 20th-century Scottish composer – has clearly been overlooked. His writing is colourful, dynamic and cinematic, and it is delivered with real panache here.

A magnificent release from a major Scottish composer....the brilliant and strongly imaginative scoring is what keeps one's attention riveted from first to last.

There are shades of Berg in the lyrical string passages, hints of Bartók in the percussion writing, and even occasional whispers of Ives and (in the Fourth Symphony) Bernstein’s Age of Anxiety, but this Scottish composer emerges as a distinct and original voice in these three works commissioned for Scottish ceremonial occasions and anniversaries: the orchestration in the Fourth Symphony, a musical autobiography of Paisley, is especially arresting.

Wilson’s is a big, eclectic style, and the performances are arresting.

The Fourth, “Passeleth Tapestry,” is masterfully scored, fuelled by blistering energy at one extreme, intense beauty at the other. The Third is elemental, from the opening to the magical restfulness of the final bars. In these, and in his 1990 work Carillon, Wilson’s artistry comes dramatically to life in powerful, often highly sensitised RSNO performances.

Fascinating, and a startling introduction to a very individual voice. Linn’s engineering is spectacular, Wilson’s apocalyptic climaxes captured with no sense of strain....No. 3’s birth-to-death narrative is more cogent than that in Tippett’s contemporaneous final symphony.