The senior figure is Arne Mellnäs (1933-2002), whose Rendez-vous II for flute and percussion and Intimate Games for flute and chamber orchestra show a keen awareness of stylistic possibilities as, around 1980, composers came to terms with the initiatives of Ligeti and Lutosùawski. But lively rhythms, intricate counterpoint and pleasingly ambivalent harmony don’t always compensate for a lack of arresting ideas, and despite some attractive sonic interplay Mellnäs seems prone to allow forms to lapse into episodic inconsequence.

André Chini (b1945) and Per Mårtensson (b1967) represent quite different generations, the former much less in thrall to the IRCAM-promoted possibilities of computer-driven technologies than the latter. Chini shows admirable social and political awareness, as in his Silent Notes for Madrid, a meditation on the horrors of the 2004 train bombings. Icaregag (the title presumably a conflation of the image of the plunging Icarus with the name of the performance group) is an even more earnest affair, taking too long to find the rhythmic energy and harmonic focus evident in the last few minutes.

Where Chini is earnest, Mårtennson is if anything too laid-back, both in his ultra-improvisatory Dance and Sentimental Song and in the more purposeful and sustained processes of his 2001 Concerto. However, this improves as it goes along, the short finale offering a genuinely imaginative and touching complement to the earlier busy-ness.