There is so much to praise about the works on this CD that it’s hard to know where to begin. In reviewing previous recordings I’ve noted that Jonathan Harvey’s music juxtaposes moments of disarming simplicity, of naivety almost, with others of considerable sophistication and intricacy. Often these are held in fine balance, the former giving the listener an accessible entry-point or anchor, and allowing the latter considerable scope for development within an audibly logical discourse. The opening premise of both Tranquil Abiding and Body Mandala are cases in point: in the first, an alternation of two sonorities carries the piece forwards inexorably to its conclusion. By contrast, the arc structure of …towards a Pure Land engenders considerable discontinuity. Each piece inhabits its own space. The virtuosity of Harvey’s orchestration is breathtaking at times (try the conclusion of the second of the three Timepieces, for example), but it is virtuosity in the service of deeply intelligent musical argument; there’s nothing merely flashy or self-serving.

Not surprisingly to those familiar with Harvey’s concerns, all but one of these pieces explore different facets of spirituality, particularly those drawn from Eastern religions. Perhaps the most immediately involving is White as Jasmine, based on texts by a 12th-century Hindu saint. Here, soprano Anu Komsi delivers a superbly controlled performance of great vocal beauty. In her first entry, she is virtually indistinguishable from the surrounding instruments (and it’s satisfying, by the way, to hear singing in which each pitch can be clearly discerned, vibrato notwithstanding). But the musicianship here transcends questions of technique: all the participants deserve equal credit for their involvement in a richly rewarding project.