Perhaps the insularity of the quotation would not have appealed that much to Delius, or Holst or Warlock; but fortunately the question of appropriate titling does not affect the quality of the music they wrote, which was usually splendid.
It is so on the record, which presents an assembly of pieces ideally suited to small or string orchestra the alternative forces the RPO muster here, and muster in exceptionally good quality (the string-playing in the Elgar especially rivets the ear). A mild listening misfortune attends the ordering of those pieces on the record, an ordering which is by composer (exactly as in the titling given above). This results in the only three pieces involving a wind contribution—and thus a contrast of tone-quality—coming together (because they were all by Delius); and thus they may seem to be distributed as might (sensibly) suit a librarian rather than a listener.
One interesting placing, though, is that of the two Holst suites in sequence: the first written for the senior orchestra of St Paul's (Hammersmith) Girls School, the second for the junior orchestra. Holst differentiates between the two in technical difficulty, and the first of the suites is, understandably, the more popular with professional orchestras. I doubt that the St Paul's girls of the 1920s pursued the clashing of rhythms, the excursions into F sharp major, or the exacting solos with the elan of today's RPO; but I expect, too, that some of those girls learned enough from Holst's demands to become professional players in their turn.
You do not have actually to play this repertoire schoolgirl or seasoned professional, to enjoy the music; and if the repertoire suits, this well-recorded release certainly will.'