The most focused work here, Violin Phase (1977), wears its purposefulness on its sleeve.
Jagdish Mistry scintillates as the soloist, never letting go of the tension for a second, so when the end comes, you wait expectantly for that thread to be picked up again. Eight Lines, the reworked version of the Octet (1979/83) is also purposeful, moving gently from the early phase style to the melodic chanting-inspired style of the later Tehillim. While it's undeniably exciting, New York Counterpoint (1985) doesn't quite have that edge-of-the-seat adrenalin-powered quality that you can feel so clearly in ViolinPhase. City Life, though beautifully written and, in many senses, a witty work (something that's caught wonderfully in the Ensemble Modern's sharp-edged performance), leaves one adrift, without any clear idea of its purpose. If you want unforgettable performances of Violin Phase and Eight Lines, Ensemble Modern's account is the one to go for.