If recording activity is anything to go by, the music of Arne Nordheim (1931-2010) is not suffering the neglect of most composers’ outputs after their death. After recordings of his accordion pieces (A/11, 9/13) and a new version of his cello concerto Tenebrae (12/12), this latest issue focuses on his works for trombone and lur, the ancient Norse brass instrument (on modern copies). A remarkable collection they form, too, so typical of the man, brimful of the inventiveness and humour
of one of the late 20th century’s mightiest musical intellects.

The best known of these is also the earliest, The Hunting of the Snark (1976), a compelling fantasy in which the soloist searches though a snarling, expectant, volatile and not unhumorous musical landscape. It is played with audible relish (and no mean virtuosity) by Gaute Vikdal, bass trombonist of the Stavanger Symphony Orchestra, who went on to advise the composer on the larger, more variegated sequel for trombone and tape, The Return of the Snark (1988-90).

Vikdal is also adept on the lur, for which Nordheim wrote the mesmeric OHM (1971, given here in its 1995 reworking), in which he plays two instruments, in C and E, accompanied by tape, plus Bjøllé é Fjellé (‘Bell in the Mountain’, 2005) for three lurs, all played by Vikdal, accompanied by carillon, orchestra and electronics. Missing from Nordheim’s official work list on his website, it – like Nordklang for bass trombone, percussion and tape (2007) – is a collaboration with other hands. Both have much to beguile and Vikdal’s playing is full of verve. Euridice’s sound is excellent.