These works reveal a composer with a sharply profiled voice—direct, structurally clear, and emotionally candid—shaped in a mid-century idiom that can glance toward Bartók, Prokofiev, and Britten while remaining unmistakably his own. The Violin Concerto unfolds as Linde described it: a slow, lyrical opening that flows through a solo cadenza into a quicksilver scherzo, and a finale driven by an emphatic, tightly focused thematic span, where agile, folk-tinged figuration and returning songful ideas are constantly recombined. Notably, the performance here restores the concerto complete, countering the long tradition of cuts and “helpful” simplifications that obscured some of its most original writing. The Second Symphony deepens the picture: a grave opening Largamente, an impetuous Toccata marked con ira as the work’s fierce centre, and a concluding Canto that seeks light and reconciliation without denying its flashes of turbulence. Between them, Pensieri sopra un cantico vecchio turns a Christmas chorale into a sequence of shifting, fragmentary reflections—at times ceremonious, at times gently dance-like—closing the programme in a spirit of poised remembrance.