Toronto composer Henry Kucharzyk wrote the three-movement Some Assembly Required in 1998. I opens with frenetic pointillism, calms down, and then becomes rhythmically insistent and fragmented. II opens with a simple English horn solo that is taken up by other winds before yielding to complexity and discord. III is fast and frenetic. The performers are given occasional freedom to decide what to play and in what order, but that is not apparent to a listener.

Gary Kulesha’s three-movement Ensembles (1979) has a peaceful yet serious I, hard-driving II, and a fascinating III where various instrumental choirs work together while disagreeing about tonality.

Harry Freedman, long-time English horn player with the Toronto Symphony, used French-Canadian folk songs in his medley ‘Laurentian Moods’. The program ends with a lively reading of a staple of the wind repertory, Olivier Messiaen’s Oiseaux Exotiques (Exotic Birds, 1956). Simon Docking is the fine piano soloist who expertly evokes dozens of specific varieties of birds.

Fine readings, good sonics.

High Spirits lives up to its name with an exuberant and vivacious opening written in a traditional 'band music' style. The composer’s works are characterised by exuberant optimism and this piece is certainly no exception. After this fitting and suitable opener, the disc ventures into more experimental territory.

Dream Dancer features solo saxophone supported by the wind band. It explores the idea of cross-fertilisation of different musical cultures and traditions in our increasingly international world. Some Assembly Required—a phrase which will bring dread to anyone who, like me, has moved house recently—derives its title from the incorporation of significant improvised sections. The rhythmic and harmonic structures are loose and tone colour is the main organising element.

Gary Kulesha's Ensembles which follows continues a contemporary idiom but brings a return to more traditional form. Instead of the forward driving force often found in band music, the music is more circular and reflective, and often characterised by dissonance.

Laurentian Moods takes the listener back to a more familiar territory. Written in 1957 by Harry Freedman—who played horn in the Toronto Symphony for 25 years—it is based on Quebec folktunes and reflects the composer's love of big band jazz.

The disc closes with its only non-Canadian piece: Messiaen's Oiseaux Exotiques, in which the wind ensemble are joined by the Australian-born pianist Simon Docking in the solo part. Of the bird species whose songs are featured in the piece, no less than 38 are from North America and the majority of these are found in Canada. Messiaen's contribution to the music of the twentieth century—both as a composer and as a teacher—has been significant, so its inclusion in this survey is very fitting. His love of birds is well known and the use of their song is one of his hallmarks. This is a remarkable piece and the ensemble show their versatility in tackling its challenges, as they have with the other complex and innovative works here.