When not playing the trombone (as scintillatingly as anyone else on the planet) or championing Pettersson’s symphonies from the podium, Christian Lindberg is also a composer of some distinction. Lindberg – who celebrates his 60th birthday this year – did not start composing in earnest until he was 39 and, while his initial works were all trombone-orientated, he quickly widened his instrumental range, producing several concertos, some of them recorded by BIS.

There is a vein of fun and irony in his music that makes individual works, and his output in general, disarming and appealing by turns. He rarely attempts the gravitas of, say, Pettersson or Anders Eliasson; rather, he has much in common with Aulis Sallinen in his way of mixing up styles and musics of very different provenance. This is evident in all three works here, though the balance in the Viola Concerto (2010 11), grippingly played here by Rafael Altino, leans a touch more to the serious, perhaps. The link with Hesse’s Steppenwolf came late on in the compositional process but accords well with the music’s atmosphere of isolation.

Drawn in part from his ‘arte commedia’ Dawn of Galamanta, Tales of Galamanta (2013 14) is a tone poem full of light and shade set in a town of Lindberg’s own invention. Peking Twilight (2012) was written for the centenary of the Norrköping Symphony Orchestra, with whom Lindberg has so brilliantly recorded Pettersson. A kaleidoscopically varied tone poem, the seeming orientalisms stem from Norrköping’s local nickname of, yes, Peking. BIS’s terrifically clear sound captures these works, sparklingly performed in Odense, in all their appealing whimsy.