Her 93rd birthday imminent, Sofia Gubaidulina continues undaunted upon her compositional journey. This release features the first outing for her Triple Concerto (2017) with violin and cello joined by bayan, a chromatic accordion for which she has written extensively. Formally this centres on the number three, its structure further articulated by intervals whose relative expansion and contraction takes on an almost metaphysical quest across the 30-minute span. Typical of this composer, her spiritual concerns should find accord via a mathematical rigour in which cadenza passages are determined by the golden section, with its visceral interplay of soloists and orchestra resulting in a climactic ascent as much annihilatory as transfigured.

Alongside the concerto Offertorium, her duo sonata Rejoice! (1981) established Gubaidulina’s reputation beyond the then Soviet Union. Drawing inspiration from the stark morality of 17th-century philosopher Hryhorii Skovoroda, its five movements shadow the format of the Latin Mass, with the contrast between conventional tone and harmonics evoking that of earthly and ethereal domains. Baiba Skride and Harriet Krijgh offer unstinting advocacy, as does Elsbeth Moser to the other work, which continues her close working relationship with this composer.

Certainly, this account of Rejoice! is preferable to the over-projection of Gidon Kremer with Yo-Yo Ma, or hard-pressed response of Oleh Krysa with Torleif Thedéen; whereas that from members of Quatuor Molinari is part of a set that comprises all four of Gubaidulina’s string quartets, which is well worth acquiring on that basis. Those who want the Triple Concerto cannot go wrong with this Orfeo album, Andrew Manze securing a fearless response from the NDR Radiophilharmonie to make one hope he will tackle other contemporary scores in the future.