The 1960s and 1970s, though, were an era in which some contemporary composers adopted an entrenched attitude. Bennett’s versatility contradicted the dogma of musical modernism, and as a student of Pierre Boulez, Bennett initially acknowledged the distinction between his different areas of activity. ‘The different parts of my career seemed to take part in different rooms, albeit in the same house’, he observed. But as those distinctions came to seem increasingly artificial, his musical language evolved. ‘I don’t want to write for me-me-me’, he told Duffie. ‘I want to write for concert audiences in the world.’ The music on this disc, from the Second Symphony of 1967 to the Partita of 1995, mirrors that evolution