Lindberg’s Accused sets three transcripts from real-life interrogations. Indecipherability of the words dogged the piece when it was premiered in London in 2015 with Vladimir Jurowski conducting Barbara Hannigan and the London Philharmonic. A recording can get around that to an extent but this one, courtesy of good engineering and Anu Komsi’s diction, puts some of Lindberg’s text-setting in the dock in the process. Particularly so in the third piece, in which ‘the accused’ is the absent Chelsea (then Bradley) Manning and the text, full of banal detail, is made to jump through myriad hoops. In that movement Lindberg’s strange decision to have one singer as both accuser and accused is mitigated marginally, given the accused’s yes/no answers. In the middle piece, where an East German is questioned on her illegal reading of Der Spiegel by the Stasi, you feel Lindberg trying to solve the problem of the binary dialogue but failing. Only the first piece functions properly with its text, given a woman of the French Revolution essentially sings a monologue.

Komsi may not have Hannigan’s elasticity but she is in strong, agile voice and can do special things, not least in her final utterance. While the Manning accusation devolves into tense chamber music, the Stasi one is a raucous cat-and-mouse game. Only the French section truly illuminates Lindberg’s figurative concept of the individual (the singer) against the state (the orchestra); the full force of the ensemble waits for the Mademoiselle to get out of the way before cresting and crashing in a series of huge, threatening waves in Lindberg’s unmistakable style.

Episodes was also commissioned by the LPO, for performance with Beethoven’s Ninth. Lindberg is subtle in his homage to the older score, using rhythmic cells as fuel for his otherwise familiar structures whereby stepping bass lines shunt the music on to grand new harmonic planes, and the music billows outwards towards pillars that dissolve into mesmerising harmonies mapped from overtone spectrums. So nothing particularly new, beyond the different and more pronounced gait of those rhythms, but that doesn’t stop the music thrilling in that pulverising Lindberg way, with every part of the orchestra, top to bottom, part of the argument. Lintu’s Finnish Radio Symphony Orchestra is, yet again, on eye-widening form.