A one-time raider of the European classical heritage, Louis Andriessen may yet become a grand master of that tradition. Not that Trilogy of the Last Day is reactionary: its scoring for wind, brass, keyboards and electric guitars is defiantly of the present, as is the often brutal juxtaposition of texts about death. No room for a rosy-hued afterlife here. Authoritatively directed by de Leeuw, and despite a sound balance that renders the choir in Part 1 often inaudible, this is uncomfortable but gripping and relevant listening.'