For many composers the 20th century was an era of paranoia. For some, particularly in Europe, the paranoia was about survival. Mostly, however, the paranoia was aesthetic; after the fall of tonality all doors were open. Which notes to use? How many notes to use? Whose notes to use? When to use them?

Polish composer Witold Lutoslawski developed his own very individual response to this problem with a technique he called “limited aleatorism”. Instrumentalists would play their own carefully notated parts in their own time and at their own pace, cued by a conductor, creating a spaciousness and depth that is refreshed by every performance. You can hear this in the two masterful later works on this disc, both from the 1980s. Chain 3 and the Symphony No 3 are inventive and free, their constantly shifting branches teeming with life.

The much earlier Concerto For Orchestra (1950-54), Lutoslawski’s first big hit in the West, is a different beast. It’s colourful, clever and compelling, threaded with references to Polish folksong – but compared to the later works sounds at times a little academic. What frees it is its energy; the flourish of the dance (a remnant of the composer’s years as a wartime cabaret performer) is never far from the surface. The BBC Symphony gives a confident and strong performance, bringing their richness and majesty to Lutoslawski’s music. In particular conductor Edward Gardner emphasizes Lutoslawski’s gifts for counterpoint and contrast; every layer is clearly audible, each musical voice brilliantly defined.

Limelight subscriptions start from $4 per month, with savings of up to 50% when you subscribe for longer.