One of the most impressive aspects of this recital of recent choral works by Jonathan Harvey is the admixture of different types of material within a disconcertingly coherent whole. In many of the pieces heard here, these types stand for specific ideas or attitudes (a stance reminiscent of Messiaen); thus in Marahi, angels are expressed as triads (always treated in parallel motion, as a single sonority), humans as monody, and animal sounds are realistically and lovingly rendered by Rachid Safir’s singers. The effect of these, though not without humour, is never distracting. Equally impressive throughout is Harvey’s subtle approach to harmony. The Sanctus from the Missa brevis is particularly telling, as pure triads move in and out of focus: simple ploys, certainly, but rendered with great subtlety. At such moments it is hard not to hear the experiences of the electroacoustic composer showing through. Throughout, the formal diversity of pieces counterbalances their small scale. That said, Marahi and How could the soul not take flight are conceived on a broad enough canvas for the different material-types mentioned above to have the space to interact in a satisfyingly complex manner (particularly, I think, in Marahi).

Most of these pieces were written for choirs within the English choral tradition; it is therefore interesting to hear them tackled by an ensemble that stands audibly outside it. The transfer works very effectively: the harmonic intricacy is managed particularly well, as is the different character of material-types. To listen to this recital alongside the equally impressive, recent Ferneyhough anthology from the BBC Singers (Metier, 8/07) is particularly instructive. Let’s hope to hear more British music from Les Jeunes Solistes: Finnissy, perhaps?