The Concertgebouw has never avoided modern music, and this disc features four pieces premiered within the past three years. A varied foursome, too – with Moritz Eggert’s Hockney-inspired work a riot of stylistic allusion given context by a simmering musical background. If Colin Matthews’s appeal lies in incidental detail rather than the “bigger picture”, his epically conceived opus offers necessary contrast – building resourcefully yet remorselessly to a “turning point” that sets in with a Mahlerian adagio such as this composer has often favoured, though the coda’s attempted synthesis seems tentative rather than equivocal.

Different again is Theo Verbeij’s trombone concerto. Its four sections outline a teasingly oblique groundplan and the soloist (the superb Jörgen Van Rijen) “first among equals” within the fastidious orchestration, though the finale is too brief and knowingly Stravinskian to cap an otherwise finely achieved work. Detlev Glanert rounds off proceedings: described as “a dark and wild series of dances…in which the audience looks in upon the dissection of ‘man as beast’”, the piece is dedicated to Shostakovich though closer to Hartmann or Henze – which is not to deny its potent characterisation or musical substance.

It helps that this performance is more virtuoso and more spaciously recorded than that under Semyon Bychkov (with a fine if hardly earth-shattering account of Shostakovich’s Tenth Symphony: Avie, 1/08). Markus Stenz is a natural interpreter of these pieces, and I hope that “Horizon 1” will have numerous successors.