Wilson seizes on the opportunities to bring out the vivid colours of Dutilleux’s score, with the brass blazing superbly and every rhythm alive with meaning. No less striking is the music’s lyricism, phrased by Wilson with great tenderness.

[Le Loup] Wilson brings out the theatricality of the score through his pointing of musical incidents, clarity of line, and sheer zest...Wilson’s couplings are uniquely interesting...one of the best in Chandos’s series with Wilson and his London Sinfonia.

As one might expect, it’s flawlessly done, scrupulously paced and played, with Dutilleux’s often extraordinary colours and textures beautifully explored.

Listening to this shimmeringly sexy, deliciously macabre account of Dutilleux’s 1953 ballet, it’s difficult to fathom why the piece isn’t better known and loved: think Ravel’s Ma mère l'Oye shot through with echoes of Peter and the Wolf. The strings are particularly magical in the Boudoir and Forest episodes, and flautist Adam Walker (who also shines in Kenneth Hesketh’s orchestration of the Sonatine for flute) contributes some beguiling solos.

Wilson and Sinfonia of London give a polished, warm performance [of Le Loup], as they do of Hesketh’s deft arrangements of three “pieces de concours” from the 1940s, all more than mere vehicles of virtuosity.