The sound is warm and clear, and the whole production introduces and advocates the composer’s vision smartly.

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The Italian ensemble and especially solo cellist Vittorio Ceccanti bring the music prancing off the page…The CD box mentions this work’s ‘profound ritualistic expression’, yet the Italians never neglect the lighter, more humorous aspects. They come into their own swinging the end of the Purcell fantasia off its quirky wall.

…Linguae Ignis (‘Tongues of Fire’)…benefits from being held together in this performance by the richness and confidence of Ceccanti’s cello unabashed yet unmannered cello style: clean, pungent and open.

Vesalii Icones is just as dramatic, just as taut. Perhaps even more so. It’s a work that really benefits from also experiencing the contortions and gyrations of the dancer who is usually involved in live performances. It’s the visual and kinetic equivalent of the strangled utterances of the Mad King George, in Maxwell Davies’ piece of the same year. Although played without a break, the sanctus bells lend structure, and distinguish between the 14 sections, none of which lasts longer than five minutes.

Vittorio plays with warmth and sensitivity…Mauro, leading Contempoartensemble, doesn’t shy away from letting Maxwell Davies’ zany stylistic leaps and overlaps make the maximum impact. Naxos’ sound is clean, vivid, and well-balanced.