Earlier this week it was announced that the recipient of the 2015 Grawemeyer Award for music composition is Wolfgang Rihm, for his 16-minute orchestral work IN-SCHRIFT-II. Whatever people may say about Rihm (and, in more recent times, who hasn’t?), it was a superb decision, as this particular piece has considerable ambition in terms of both sound itself as well as the way it speaks within the performance space. Rihm is hardly the only contemporary composer to have these concerns, of course, but IN-SCHRIFT-II, despite or perhaps because of its brevity, makes an overwhelmingly immediate and deep impression that genuinely sets it apart from what one usually encounters in new music. And yet, to dance on the head of a paradox for a moment, you could easily argue that there’s not that much new about it—it certainly doesn’t break new ground, but at the same time it doesn’t really sound like anyone else, and in fact pretty much nothing about it at all sounds familiar. Rihm’s soundworld is remarkably immersive and attractive, non-threatening but nonetheless thrilling and in no small part that’s down to the very specific choices of instrumentation he has made, with heavy stress placed on lower instruments.