Wilson is supreme in shading the orchestra to complement the cello line, both clear and expressive. In both cadenzas, Aasgaard draws a dramatically compelling narrative, again coupling precision with nuance and aplomb.

As so often with Wilson's work, it's the precision, the clarity, and the keenest articulation that defines it. The level of virtuosity displayed by this band can be, and is here, absolutely jaw-dropping.

The symphony's initial pages offer an ideal example of the painstaking attention to detail at the forefront of all of Sinfonia of London's recordings: every hairpin, accent, and articulation marking is unfailingly observed…[In the concerto] Aasgaard is nothing short of magnificent throughout, not least in the two extended cadenzas in the last movement with double-stopping and harmonics aplenty.

a perfect example of how conductor John Wilson’s vital, yet penetrating, approach combines with the orchestra’s trademark lustre to fit this composer’s music like a glove. It’s evident from the outset in a rumbustious reading of the Scapino overture that positively snaps, crackles and pops...Wilson’s performance [of the Symphony] yields pride of place to no one.

There have been numerous fine accounts of [the Symphony] – André Previn’s from the mid-1960s is usually cited as the gold standard, and with good reason – but Wilson’s has a claim to the finest yet. His sheer attention to detail – not merely absolutely perfect tempi, but an attention to dynamics that is so often missing from other recordings – is breathtaking...For those who want to hear the finest music played as its composer intended, this new disc is unmissable.

I was much impressed by Mr Aasgaard’s playing – agile, very accurate and focussed, and beautifully projected, a performance to which I will certainly return. John Wilson’s version of the symphony also commands our attention with its drive and drama, expertly despatched by his own Sinfonia of London.

Aasgaard is witty and athletic in the central scherzo, and he and Wilson manage to make the discursive finale cohere, the return of the concerto’s opening music in the closing minutes a moment to savour...Wilson’s reading [of the Symphony] is swift and exciting, with excellent brass playing and spiky winds.