The Amsterdam-based Conjunto Ibérico, comprising eight formidable cello players under the direction of Spaniard Elias Arizcuren, has an astoundingly wide-ranging repertoire, the greater part of it newly-commissioned. Their stylistic breadth is perfectly demonstrated in this latest disc – it is still seen as a brave thing to place Pärt side by side with Donatoni, as here, though fortunately it is becoming less so. Partisans of one or the other might question whether such juxtapositions make for satisfactory programming, but the answer must be an unequivocal ‘yes’ – this collection positively demands to be listened to in the order in which it is recorded.

Terry Riley’s intense, often jarring Requiem for Adam, tautly performed, provides a suitable introduction to the riches of this programme. It is followed by one of Denisov’s last works, Hymne, whose title is not explained but which fits with the vein of spiritual exploration so typical of his late work, beginning unexpectedly with a striking rhythmic figure and developing, tendril like, into a seemingly private world.

Donatoni’s Lame II shares some of these characteristics, and, like the Denisov, is extremely well written for the ensemble, but it does strike me as a trifle over-extended. Pärt’s ubiquitous Fratres can also seem too long in the wrong hands, but I have never heard it given such a lovingly shaped rendition as here, without any sense of hurry, and a real feeling for the work’s phrasing, so much more complicated than it appears on paper. The disc ends with two brilliant fireworks by the remarkable Dutch composer Theo Loevendie. The first, ‘Zeybek’, is based on Turkish rhythms, and impresses not only by its complexity in this respect, but by the way in which Conjunto Ibérico grasp the technical difficulties of its slithering, silky micro-tonal opening. ‘Ibérica’ is more of a generic homage to Spanish dance – just the thing to end this extraordinary programme on an upbeat. Unequivocally recommended.