Mikkola

The most substantial pieces here are the set of variations of La folia, and the Tombeau pour M-deSte Colombe in memory of Marais's mentor. His idiom embodies a paradox that's peculiarly French, in that it demands a very high technical standard, yet its proper expression requires the utmost restraint. The young Finnish viol-player, Markku Luolajan-Mikkola, is a founder-member of Phantasm.

Norwegian composer SVEIN HUNDSNES has written a considerable number of works ranging from concertos to pieces for young musicians. His piano music is stylistically wide-ranging and occupies a significant place in his oeuvre. Piano Sonata No. 2 exemplifies his practice of working from tiny core motifs as he makes a series of connections between each vivid movement. Syncopated rhythms animate Vinterdanser (Winter Dances) a sequence of round dances; whereas torches swirling in the air, a cradle song and clouds of illuminated water particles are magically evoked in Nuances de Lumière (Shades of Light). Finnish pianist Laura Mikkola, continues her critically acclaimed discovery, in this second volume of Hundsnes piano works.

First released in 1999, this well-played, superbly-recorded album makes a near-perfect single-disc introduction to the music of Einojuhanni Rautavaara (1928-2016), not only the most significant Finnish composer after Sibelius, but very probably among the finest of all later-twentieth century masters. Rautavaara is undoubtedly the greatest composer most people have never heard of, and that's a shame, though, one might hope, records such as this will go some way towards remedying so glaring an injustice.

Einar Englund (1916-1999) was not only one of Finland's major symphonists; he was also one of his country's most important pianists. He was destined for a virtuoso career until he damaged a finger as a soldier in the Battle of Bengtskjar in the ''Finnish Continuation War'' in 1941 - but when he later discovered the bullet holes in his beret, he realized he had a lucky escape! Englund wrote surprisingly little for his own instrument, but the works he did produce glitter with a Prokofievan steely strength and textural clarity.

First released in 1999, this well-played, superbly-recorded album makes a near-perfect single-disc introduction to the music of Einojuhanni Rautavaara (1928-2016), not only the most significant Finnish composer after Sibelius, but very probably among the finest of all later-twentieth century masters. Rautavaara is undoubtedly the greatest composer most people have never heard of, and that's a shame, though, one might hope, records such as this will go some way towards remedying so glaring an injustice.