There is much to admire in Katharina Rosenberger's music. She brings, always, a fresh or newly refreshed palette of instrumental sound. She creates structures that attract admiration for their improbably tensile strength - how does a piece like modules here hold together? But this is not wha tmakes the music special. Rosenberger does not invite us to sit and admire, and then, like the old composer (who is ar eal person, even though he remains anonymous) leave the room unmoved. Instead, she invites us in. She involves the listener.