Revised editions followed, with the composers David Matthews and Colin Matthews assisting Cooke and Goldschmidt in the attempt to produce an authentically Mahlerian orchestration.
Pilati's output is considerable given his few years of compositional maturity, but it includes a Concerto for Orchestra (1932), premiered by Dmitri Mitropoulos at the Venice Biennale in 1938, which shows modal influences of Respighi as well as a Mahlerian ländler in the finale.