The first two minutes of Peace of Mind (2014), for example, present a clarinettist and a saxophonist emitting growls and gurgles, interspersed with isolated piano notes struck by hammers with fingers stopping the strings. After that, melodies and chords begin to establish themselves. Sometimes they build to climaxes, other times they murmur quietly and aphoristically. Yip adds a flute to that combination of instruments for the aptly titled Tranquility in Consonance (2016). While the basic textures and narrative trajectory are similar to those in the other piece, I find it to be more concise, harmonically engaging and dramatic, especially in passages where lyrical flute trills are buttressed by slippery clarinet rejoinders and low-lying saxophone multiphonics.

Throughout In Seventh Heaven (2014), I’m struck by the interplay between rapid double-bass bow-strokes, scratching upon the piano’s low strings and sustained saxophone low notes, along with sequences of billowy piano chords surrounded by harmonics from the double bass and sundry saxophone sound effects. The climax towards the end evokes the ecstatic complexity of the best free jazz and is followed by several minutes of static winding-down before the piece concludes.

Similarly, the CD’s title track, Whispering Fragrance (2017), is a solo violin piece that provides a rhapsodic though mostly low-key showcase for Yu-Fang Chen’s remarkable control of difficult harmonics and rapid-fire staccatos. However, Yip’s creativity truly takes wing in Ran (2014), where he takes full advantage of Jiuan-Reng Yeh’s extraordinary virtuosity on the traditional guzheng and creates a beguiling tapestry of strummed and bowed sounds, abetted by the performer’s singing voice. Although the opening selection, Ding (2015) for guzheng and double bass, arguably sprawls and takes a while to find its core, the final four minutes feature some inventive rhythmic repartee and use of registers.

In short, Stephen Yip’s splendid ear and sophisticated technique stand him in good stead, along with his avoidance of stock-in-trade ‘atmospheric’ clichés (for the most part). One assumes that the composer was involved in the preparation of this disc’s uniformly first-rate and responsive performances, all gorgeously served by the superb engineering.