Walter Zimmermann, in the missing nail at the river, uses piano and toy piano with some pretty interactions between the baby and the grown-up instruments. Michael Finnissy’s Song of Myself was inspired by Whitman but stems from the impressionistic Ives. Initially in the upper reaches of the keyboard, it builds impressively to a fuller texture with references to the Beethoven motto Ives used. James Tenney, in his Essay, limits himself to notes plucked inside the piano, mostly as simple monody, based on a melody from Ives’s declamatory Emerson.

In The Celestial Potato Fields, Sidney Corbett starts in Ives’s aggressive manner but peters out into fragments based – but not obviously – on Ives songs. Schneller, in And tomorrow… partners the piano with electronics, starting with resemblances to Ives’s quarter-tone piano pieces. These new works show how fruitful the discoveries of Ives remain to composers 100 years later.

It’s surprising that the Five Take-Offs are not better known, although they were included in Philip Mead’s fine two-CD set (Metier). The second one, “Rough and Ready”, is certainly that and O’Donnell is a match for everything.