Rautavaara studied at the Juilliard School in 1955-56 and Manhattan Trilogy (2004) was commissioned to celebrate its centennial. In recalling his youthful sojourn in the Big Apple, the composer deployed the full panoply of his late orchestral manner in a hugely engaging triptych describing his “hopeful Daydreams”, “sudden Nightmares of doubt” and “slowly breaking Dawn of the personality”. Where Segerstam's vivid interpretation, allied to Ondine's sumptuous recording, glows through its 20 minutes, Inkinen provides a beautifully focused reading, nearly two minutes swifter, with every detail brought out to telling effect.

Not the most gripping of Rautavaara's recent orchestral essays - the brilliant Book of Visions (also available on Ondine) is that - Manhattan Trilogy is nonetheless accomplished. What connects it to the Third Symphony (1959-61) is the treatment of the past. The symphony - one of the finest of the post-war period, seriallc organised within a vibrant tonal framework - recreates the idiom of Bruckner (albeit with echoes of Janácek in the orchestration in places, the Einar Englund of the Blackbird Symphony in the flute-writing) from a late-1950s sensibility and, ironically, remains the more progressive. Here, competition is extremely stiff with little to choose between this newcomer and Ondine's previous Leipzig issue under Max Pommer (coupled with Symphonies Nos 1 and 2) or Hannu Lintu's (with Cantus arcticus and Piano Concerto No 1 - Naxos, 3/99). Ondine's disc has marvellously warm, Chandos-like sound although I must confess a liking for the clarity of the Leipzig performance.

Rautavaara's most recent symphony, the Eighth (1999), was memorably recorded by Segerstam seven years ago (Ondine, 1/02). Inkinen once again produces a refined interpretation with crystal-clear detail although Segerstam achieved more grandeur in the peroration. Choice here really will depend on couplings (the Harp Concerto on Ondine). The revision of the Sixth Symphony's finale as a - presumably - stand-alone concert piece shorn of its part for synthesiser works well enough, though it is no substitute for the whole work, for which turn to Max Pommer's bracing account (also with the Helsinki Philharmonic) for Ondine. In context, though, the Naxos programme works most effectively and is a near-perfect introduction to Rautavaara's late manner. Both discs are highly recommendable; at its price, the Naxos is hard to beat but Ondine has the Third. Buy both.