Instrumental and vocal techniques are intertwined in the music of Harrison Birtwistle: he often treats the voice instrumentally and his instrumental writing has vocal characteristics. Many of his works for small ensembles, with or without voices, occupy this common ground, his highly individual style juxtaposing the static and the violently dynamic and intersecting with his fondness for ritual and myth – not least a recurrent concern with the figure of Orpheus. This recording presents some of these relatively neglected pieces, recorded live in the presence of the composer, who also talks about his songs in interview.

All three works on this disc are essential Birtwistle. Oliver Knussen is one of best conductors in the world. The London Sinfonietta needs no introduction. And NMC is one of the great independent labels. What else do you need?
Well, I know Birtwistle's music alienates some people, and in its way it is more radical than anything 50/60s Darmstadt serialism could offer. But it is perhaps also the most interesting, often in a extra-musical way.

‘No more exciting recording of contemporary music than this has appeared for many a day. It celebrates the virtues, and the virtuosity, of the London Sinfonietta and also celebrates the Sinfonietta’s long association with Harrison Birtwistle, including three of the four most substantial works he has written for them. It is Secret Theatre (1984) that makes this new recording special … it is an enthralling exploration of the interaction between what Birtwistle terms ‘cantus’ and ‘continuum’—chant-like melody and block-like, chordally-constructed harmony.