Since it is probably his best-known composition, it's fitting that the posthumous 80th-birthday tributes to Luciano Berio (1925-2003) should include a new recording of his Sinfonia (1968). Being such a multi-layered collage, with eight amplified voices (originally performed by the Swingle Singers, here by the London Voices) weaving around a huge orchestra, reciting texts in multiple languages, intoning the name of Martin Luther King, and scat-singing, it's hard to imagine a definitive performance or recording of this curiously dense work. Yet each interpretation reveals new facets and hidden details, making Peter Eötvös's version a welcome addition to those already in the catalog from Pierre Boulez and Riccardo Chailly. Eötvös -- and perhaps more crucially, Deutsche Grammophon's engineers -- manage the tricky balances between voices and instruments as ably as their predecessors, although somehow the cumulative impact of this recording doesn't quite match the competition, perhaps because the Gothenburg Symphony isn't the strongest among the orchestras that have attempted this complicated score. Recordings of Sinfonia are inevitably coupled with a more recent Berio orchestral piece -- Eindrücke for Boulez, Formazioni for Chailly -- and this one is no exception, offering up a beautiful performance of Ekphrasis (Continuo II) (1996). This 20-minute composition was the final orchestral work that Berio completed, and its shimmering textures and hovering blocks of harmony make an immediate but lasting impression. Even if this version of Sinfonia is best taken as a supplement to the existing discography rather than a replacement, all admirers of Berio -- and new-music listeners in general -- are urgently advised to immerse themselves in Ekphrasis in order to experience the prismatic colors and spaces the composer was exploring in his valedictory works.