The most immediately exciting piece is actually the shortest: the two-and-ahalf minute fanfare written in 2021 to mark the opening of a French arts centre designed by Frank Gehry. Fourteen trumpeters giddily and brilliantly dart about to great effect, reminding us what a master of sonorities Adès can be.

The main event is Adès’s Aquifer, written for Simon Rattle and his Munich orchestra last year...not programmatic exactly, but alive with its own atmosphere and original sounds, and very tautly written. All the performances, brilliantly detailed, are conducted by Adès.

Ultimately, it’s the quieter, less showy tendencies revealed in the album’s opening works – the transfigured consonance of Dawn and the fragility of Shanty – that linger in the mind.

Aquifer is a real masterpiece... The musicians seem to be having a ball with the fanfare and display all the necessary panache...The performances are authoritative and well-recorded. Fans of today’s British orchestral scene should find much here to enjoy.

Aquifer, which [Adès] wrote last year for Simon Rattle and the Bavarian Radio Symphony Orchestra, is a densely packed 17-minute movement, which contains enough ideas to power a symphony at least twice as long...Marsey’s musical narrative, in eight “scenes”, is a strangely evocative succession of musical ghosts, inspired by paintings by Salman Toor, while Leith’s wacky processional, punctuated by enormous climaxes, leaves an exhilarating impression.