A one-time pupil of Sven-David Sandström, the Swedish composer Peter Lindroth is now in his late sixties. This portrait CD of his instrumental and chamber works, mostly written between 2013 and 2016, is a useful way inside an aesthetic where the more intimate and stripped-back the setting, the more powerfully Lindroth’s work is able to communicate.

Rite Now, an earlier work from 1991, looses me off completely. Lindroth explains that the piece he had originally planned to write for string trio and electronics was changed by ‘an ongoing war’ (presumably the Gulf War) and the piece that emerged instead was ‘rather nasty’. And, it has to be said, rather simplistic too, as a reverby processed military drumbeat collides with angsty string clusters, an overcooked texture that sustains itself for a whole nine minutes.

Twenty-five years later, though, Lindroth has developed a more measured and allusive voice. Para dos violines (2014 15) is a set of five miniatures for violin duo, handled with exquisite deportment by Duo Gelland, that all rotate around a harmonic centre which is never explicitly stated. Des Menschen Wort vergeht (2013) sets a 1934 poem by the German poet Karl Wolfskehl about abuses of language, apt in this age of fake news. Soprano Christina Högman makes rather heavy weather of Lindroth’s melodic contours but without derailing the symbolism of a misremembered folk music – language perched on a perpetually slippery slope towards composerly reinterpretation. SXQ II for saxophone quartet (2014) – the motion of dovetailing harmonic chorales cracks near the end to be replaced by free-jazz violence – and the harmonically lithe Night Music (2016) for harmonium, piano, bass and bass clarinet round off this worthwhile release, with its occasional frustrations.