His classical credentials might be impeccable but Jorge Grundman (b1961) is best known for his research into acoustics and technology – and also being a member of rock bands such as Fahrenheit 451, which enjoyed passing succès d’estime in the UK. A mortuis resurgere (The Resurrection of Christ) is his third and largest collaboration with the Brodsky Quartet, taking its cue from Haydn’s Seven Last Words – to whose quartet version it is an intended companion piece. The 12 continuous movements comprise four main sections: verses from St John’s Gospel recount the events of Christ’s entombment and resurrection, followed by a setting of the Credo that forms the work’s emotional climax, then by the Hosanna, in which the overall mood is lightened subtly though appreciably.

Grundman’s writing for string quartet is expert and resourceful, his loose-limbed melodic lines and rich while rarely cloying diatonic harmonies providing a variegated context for soprano-writing which ranges from confiding to histrionic – all securely encompassed by Susana Cordón (even if her vibrato can become intrusive in passages above forte). The Brodsky perform with their customary tonal warmth and attention to detail, the spaciously immediate sound testifying to the composer’s concern for presenting his music within a sympathetic ambience. How one responds to this piece depends on how far one buys into its emotional sincerity: for a rather more provocative response to the Haydn, try Bernhard Lang’s The Anatomy of Disaster, issued on the Winter & Winter label.