Judith Wegmann and Marlies Debacker perform John Cage's 1989 Two2, a late work for two pianos whose thirty-six short lines unfold through independent tempi, shared pauses and resonant decay, allowing the duo's deep experience in composed and improvised music to shape a live performance of patient asymmetry, concentrated listening and quietly radical spaciousness.

The first volume in an ongoing collaboration between composers Kenneth Kirschner and Joseph Branciforte, this work explores the application of software-based compositional techniques — including algorithmic processes, generative systems, and indeterminacy — performed in a superb ensemble including members of Flux Quartet and International Contemporary Ensemble.

Solo guitarist John Bruschini channels lessons from his tenure with Cecil Taylor into a series of sculptural improvisations that deconstruct and reconstruct melodic and harmonic ideas, presenting a reflective and adventurous exploration of the guitar's expressive possibilities shaped by an avant-garde lineage.

The seventh entry in Sonic Youth's SYR series documents a pivotal experimental moment from the band's 2000 All Tomorrow's Parties performance, with Kim Gordon, Thurston Moore, Lee Ranaldo and Steve Shelley expanding a 20-minute "New Drone" into the voice-inflected J'accuse Ted Hughes, paired with a 2003 Echo Canyon studio work featuring Jim O'Rourke's bass, electronics and sound processing.

A compelling issue of Musicworks spotlights Montreal artist Quinton Barnes and his hybrid of free jazz, drone, and experimental R&B, alongside features on composer Corie Rose Soumah and writer/musician DeForrest Brown, Jr., with additional artist profiles, festival coverage, and reviews of contemporary experimental music.

Judith Wegmann and Marlies Debacker perform John Cage's 1989 Two2, a late work for two pianos whose thirty-six short lines unfold through independent tempi, shared pauses and resonant decay, allowing the duo's deep experience in composed and improvised music to shape a live performance of patient asymmetry, concentrated listening and quietly radical spaciousness.

Solo guitarist John Bruschini channels lessons from his tenure with Cecil Taylor into a series of sculptural improvisations that deconstruct and reconstruct melodic and harmonic ideas, presenting a reflective and adventurous exploration of the guitar's expressive possibilities shaped by an avant-garde lineage.

Makrokosmos Quartet playing the Crumb piece from which their name derives, along with works by Stefano Gervasoni and Georg Friedrich Haas.

Spanning Morton Feldman's three expansive trios for flute, piano, and percussion, these performances by the GBSR Duo with Taylor MacLennan immerse the listener in an extended temporal field where quiet intensity, precise timbral balance, and fragile rhythmic relationships unfold with hypnotic patience, transforming duration itself into an expressive element of listening, presence, and sustained attention.

Blurring the line between sound and action, English composer James Saunders' composition transforms 100 pages of performance instructions to tear, score, press, and write on paper, creating a tactile soundscape where performers Conor Bourgal, Lindsay Goss, Ryan Seward, and Andrew Weathers weave rustle, rhythm, and resonance into a fragile equilibrium between the mundane and collective sound art.

Recorded live at London's Café OTO in December 2023, this extraordinary collective of guitarists, bass clarinetists, contrabassists, and trumpet interprets works by Earle Brown, David Ryan, Christian Wolff, Morton Feldman, Thanos Chrysakis, and Tim Hodgkinson, capturing a single evening of adventurous performances that merge contemporary composition with improvisatory spirit.

An endlessly imaginative and intricately scored set of chamber works from John Zorn, performed by a virtuosic quartet of Hashimoto, Gosling, Smith, and Roeder, with electronics from Ikue Mori on one track, blending classical precision and improvisational fire in a dynamic and mischievous exploration of surrealist sound worlds.

A superb interpretation of John Cage's early chamber works, performed by members of Apartment House and pianist Kerry Yong, recorded at The Old School, in Starston, UK, highlighting Cage's intricate balance of rhythm and resonance through prepared piano, strings, and percussion, captured in detailed and intimate recordings by Simon Reynell at The Old School in Starston, UK.

Canada's premiere music magazine dedicated to experimental music, improvisation, and sound art, featuring interviews with Maylee Todd, Joshua Van Tassel, Kaïa Kater, and Alexis Baro, alongside coverage of Chuck Copenace, Kalaisan Kalaichelvan, and The Burning Hell, with an accompanying CD of tracks from the issue's featured musicians, offering great inside into the contemporary creative music scene.

Interpreting Cornelius Cardew's elaborate 193-page Treatise and Earle Brown's minimalist Cheap Imitation, Fred Loisel (gong, electronics), Philippe Lenglet (prepared guitar), and Christian Vasseur (prepared ten-string Weissenborn) assign specific musical parameters to each graphic symbol, creating open compositions that balance individual expression with collective coherence.

Reissuing their 1995 release on BVHAAST, the Pellegrini Quartet presents a striking juxtaposition of Beethoven's late string quartet, Op. 132, and Luigi Nono's Fragmente - Stille, an Diotima, revealing a profound dialogue between structural innovation and expressive depth, where Beethoven's introspective lyricism meets Nono's fragmented, textural modernism, spanning 155 years of musical evolution.

A triple CD and 24-page booklet of recordings from Italian flutist and composer Manuel Zurria performing works by luminary composers including Alvin Lucier, James Tenney, Tashi Wada, Jürg Frey, Laurence Crane, &c., with an homage to Italian conceptual artist Alighiero Boetti, each CD punctuated with Preludes and Postludes performed with guest saxophonist Gianni Gebbia.

In configurations of solo to an 11-piece ensemble, Aural Terrain assembles great players including Tim Hodgkinson, Jason Alder, Yoni Silver, Chris Cundy, &c to perform works by composers John Cage, Gerard Grisley, Giacinto Scelsi, Thanos Chrysakis, Jule Kjaer and Tim Hodgkinson; seven acoustic compositions written between 1978 and 2022 that prominently feature horns as trumpets, clarinets and saxophones.

Reflecting on the slow decay of Roman and Egyptian murals, New York City-based, Puerto Rican-born composer, guitarist, visual artist and No Base Trio member, Gabriel Vicéns, presents a collection of chamber works including two piano trios, a wind quintet performed by Nu Quintet, cello & violin and violin & piano duos, a solo piano work, and a sextet conducted by David Bloom.

Influenced by the New York School of composers (Cage, Feldman, &c.), composer Paul Paccione revisits and revises five of his compositions written 40 years prior, performed by a 10-piece configuration of London's Apartment House; beautifully contemplative pieces linked together through common threads, the momentum of individual moments absorbed by the presence of the larger work.

Influenced by New York School composers, Fluxus, Oliveros Sonic Meditations, and Wandelweiser, Boston-based composer Nomi Epstein's fascinating scores take unique and experimental approaches to composition, heard here in three chamber works, two recorded by London's Apartment House, and a live recording from a 2019 concert in Berlin, "sounds for Berlin".

A collection of works from pianist & composer Dante Boon in diverse duos and virtual duo compositions that reflect on John Cage's "inner clock" concept from "Two2", each of Boon's compositions directing the players through systems of notation and counting unique to each player, varying the rules of how the two players eventually synchronize their performances.

Alternating between classical and electric guitars, Pascal Landry and Francois Paquet use a non-traditional broadcast system where the signal from their electric guitars is sent through materials selected by the musicians, creating unique tones and timbres, and providing an interesting visual aspect to their dialogs, captured here in the studio in Beauport, Quebec in 2021.

A first encounter between Swiss drummer Fritz Hauser and Portuguese marimba master Pedro Carneiro, the title translating roughly to "step of two", implying a dance heard in elusively minimal yet highly active interactions between the two, each progressively numbered work borrowing from improvisational and contemporary approaches; fascinatingly sophisticated and often joyful work.

Transcription of Soviet writer Isaac Babel's The Sin of Jesus into music by applying a rule system where words determine melody, letters determine rhythm & harmony, &c.

Calato, the quartet of Javier Areal Vélez, Jorge Espinal, Agustín Genoud and Pablo Verón based in Buenos Aires, formed in 2010 as an improvisation and experimental composition group exploring music notation and graphic scores in convergence with free improvisation, performing on prepared electric guitars, drums, sampler and amplified voice, here taking on two works by John Cage: Variations I-III, and Four6.

One of New York School minimalist composer Morton Feldman's later works, this extended composition spread across two CDs invokes waves of beautifully suspended, weaving strings from four violinists and cello, performed by the UK Apartment House ensemble violinists Mira Benjamin, Chihiro Ono, Amalia Young & Bridget Carey and cellist Anton Lukoszevieze.

An album of heavy electric jazz denoted by legendary free jazz saxophonist Paul Flaherty on alto & tenor, with long-time collaborators through a variety of settings, Jim Matus on electric & baritone guitars and Larry Derdeyn on keyboards; a collective trio of serious sonic force and momentum, complementing each other by welding illumination into dark spontaneous composition.

Six sound-oriented compositions for acoustic ensemble performed by the UK ensemble Apartment House, beautifully reflective and rich works, the first six pieces being text scores for open instrumentation, along with Peace/Tree, a seven movement work for violin, cello and piano that specifies pitches while leaving room for interpretation and improvisation.

A double CD of Japanese pianist Miharu Ogura's performance of Karlheinz Stockhausen's Klavierstücke I-XI for solopiano, recorded at the MONOPIANO festival in 2021, bringing to a pinnacle her fascination with Stockhausen's unique approach to this set of compositions, captured in her second live performance after a concert in Tokyo in the same year.

The UK avant ensemble Apartment House performs three of John Cage's later works: Two (1987), a number piece using randomly-determined time brackets specifying pitch & dynamic; Hymnkus for up to 14 instrumental parts each of 17 elements blending the concepts of a hymn and a haiku; and Thoreau Drawings, the score twenty unnumbered pages on which Cage drew shapes onto a grid of six systems, each divided into 5+7+5 parts, following the form of a haiku.

Founded by violinists Amaryllis Billet and Anna Jalving, with Fanny Paccoud on viola and Sarah Ledoux on cello, Quatuor Umlaut presents their first recordings, joined by clarinetist Joris Ruhl for two pieces: "Calques" by composer Karl Naegelen using effects of transparency and fusion of tones; and Morton Feldman's highly textured "Clarinet and String Quartet".

There is uncertainty of when pianist John Tilbury recorded these three solo keyboard works by his associate and friend, legendary minimalist composer Terry Riley, performing "Keyboard Study #1" and #2, along with "Dorian Reeds" using piano, electric organ, harpsichord & celesta, captured with excellent quality in superb performances from Tilbury at the height of his powers.

The Montreal string quartet Quatuor Bozzini (Alissa Cheung-violin, Clemens Merkel-violin, Stephanie Bozzini-viola, Isabelle Bozzini-cello) continue their investigation of avant composers, focusing on American composer Tom Johnson through three works or minimalist precision: "Combinations for String Quartet"; "Tilework" and "Four-Note Chords in Four Voices".

The 2nd solo album from Sweden-based pianist and Merce Cunningham-collaborator Kristine Scholz, performing on a 1921 Steinway & Sons Model A piano, recording four movements from composer Hans Otte's seminal work "Das Buch der Klänge" (1979-82), and an interpretation of John Cage's "Music for Piano 4-19", compatible pieces from two contemporary and visionary composers.

Quartetski--the Montereal quartet of Isaiah Ceccarelli on percussion & synthesizer, Bernard Falaise on electric guitar, Philippe Lauzier on bass clarinet & synthesizer and Pierre on Yves Martel on electric bass, perform John Cage's 1992 Numbers work "Four6" and "One7", a variation on "Four6", an incredible and insightful interpretation of this fascinating work.

Taking his Bay Area trio with bassist Jason Hoopes and drummer Jordan Glenn on the "Road", guitarist and improviser Fred Frith first presents the trio itself in a wonderfully diverse extended set at the Week-End Fest in Koln, Germany; then invites trumpeter Susana Santos Silva at Old Cabell Hall in University of Virginia; and then saxophonist Lotte Anker at Altes Kino in Ebersberg, Germany.

Inspired by the broadcast performance by The Apartment House ensemble of three works by Morton Feldman, Another Timbre requested that they record the exceptional late work of the minimalist composer, Piano and String Quartet, captured at Henry Wood Hall two months later in a stunning interpretation of this enigmatic work of sensually dissipating motion.

First performed in 1982, Morton Feldmans' monumental composition for piano and violin dedicated to peer John Cage creates a distinctive environment of instrumental interaction where patterns are subtly varied in a virtual suspension of time as the music drifts and reflects, beautifully rendered in this 2021 recording by pianist Judith Wegmann and violinist Andreas Kunz.

L.U.M.E., aka the Lisbon Underground Music Ensemble directed by pianist Marco Barroso, is a big band with a chamber ensemble feeling, Barroso's upbeat and melodically sophisticated compositions driving the band by borrowing from a variety of jazz, funk and even cartoon-like styles to create a richly complex and compelling set of tunes that twist, turn and surprise.

A 4-disc box-set with a 44-page booklet of extensive notes, presenting John Cage's Number Pieces which he wrote in the last five years of his life, adapted for mid-size ensembles and performed by the London-based ensemble Apartment House, compositions 'Five' to 'Fourteen' along with alternative versions of three of the pieces; significant and essential.

The first volume in an ongoing collaboration between composers Kenneth Kirschner and Joseph Branciforte, this work explores the application of software-based compositional techniques — including algorithmic processes, generative systems, and indeterminacy — performed in a superb ensemble including members of Flux Quartet and International Contemporary Ensemble.

Wandelweiser composer and performer Antoine Beuger reflects, or more correctly, laments, in nine solo vocal works of profound emotional depth, utterances first on the dearth of time and the vicissitudes and intersections we face; then on mourning and grief, a requiem that extolls the listener to use our voice to confront sadness that we may gain strength from it.

Recording in live conditions and multitrack, French guitarist and multi-instrumentalist Jeremy Baysse performs a version of Terry Riley's classical minimalist composition "In C" using electric guitar, acoustic guitar, twelve string guitar, effects, banjo, bass, glockenspiel, maracas, cymbal, mandolin, synthesizer, percussion, and drum machine.

Part of flutist Claire Chase's project to commission a modern body of work for the instrument, this 4-CD set features 17 works by 15 composers, including the multi-part album-long composition "Pan" by Brazilian-born Marcos Balter, with works for the entire flute family from piccolo to contrabass flute; participants include Tyshawn Sorey, Vijay Iyer, Pauline Oliveros, &c.

Bass clarinetist Chris Cundy, uses the studio as a performance tool for accompaniment along with pre-recorded tapes, as he contrasts two different composers--Cornelius Cardew & Ton de Leeuw and their compositions titled "Mountains", alongside a Cardew graphic score piece, and 2 work for 5 bass clarinets, from Thanos Chrysakis and John Cage, the latter from his Numbers series.

As though an elegy for the departed pianist and composer, Keith Tippett does not perform on this work, which was commissioned for the 2004 Norwich and Norfolk Festival, but conducts an ensemble that includes Julie Tippetts on voice, a saxophone octet that includes long-time collaborator Paul Dunmall, and the polyphonic choir of the BBC Singers; an exquisite and stirring work.

Fall 2020 issue of Canada's finest new music magazine, focusing on guitars--hollow, heavy, bowed, cracked, pedalled, flung, trusty companions & feedback demons; Plus articles on Casey Koyczan, Susan Alcorn, Amy Brandon, Aidan Baker, Eliza Kavtion, C. Diab, Markus Lake, Catherine Debard, Cloud Chamber, &c; and an 11-track CD with music from the aforementioned.

Vocal performer & musician Jaap Blonk presents a rendering of French dramatist, poet and theatre director Antonin Artaud's "Pour en Finir avec le Jugement de Dieu" (To Have Done With the Judgment of God), a work shelved by the French Radio in 1948 without broadcast as 'too scatological, political, anti-religious, random, and cacophonous through xylophonic and percussive sounds'.

The second of four connected solo piano works by Morton Feldman, Triadic Memories is about that reality, the acoustic space created by the piano's strings and soundboard, as Feldman attempted to expand the temporal frame of his music, heard here in Judith Wegmann's 2019 recording, where thThe second of four connected solo piano works by Morton Feldman, Triadic Memories is about the acoustic space created by the piano's strings and soundboard, as Feldman worked to expand the temporal frame of his music, heard her in Judith Wegmann's 2019 studio recording where that space is revealed by a magnificent Bosendorfer 280VC piano.at space is revealed by a magnificent Bosendorfer 280VC piano.

Drawing from contemporary composers including Tom Johnson, Philip Glass, Steve Reich, Terry Riley, Adrian Democ, James Tenney, &c, this is the 3rd chapter of Italian flutist Manuel Zurria's project/research on "minimalisms" in contemporary music, taking an active interpretation of the classification over 16 informed and adventurous recordings.

Pianist Marco Dalpane and soprano Sabina Meyer create a virtual cabaret of songs using the music of Erik Satie and John Cage, interlacing pieces by each in a delicate set of songs that draw the two composers together through a surprising commonality, the lyrics provided from texts written by J. Peladan, C. Mendes, H. Pacory, J.P. Contamine de Latour, &c.; lovely.

Gamelan Son of Lion partners Philip Corner and Evan Schwartzman perform this Fluxus composition where two pianists play piano notes on the chromatic scale in relationship to numbers counted out loud from 1 to 88, forward and backward, creating an unusual texture and counterpoint that when taken as a whole becomes hypnotic and obsessively absorbing; inexplicably interesting.

Stunningly unusual vocal music from composer, music researcher and vocalist based in Montreal, Gabriel Dharmoo, collecting works from 2012 to 2019, performed with small and large ensembles using almost completely wordless voice, utterance, guttural sound, swoops and, melodic flights, augmented with physical percussion like stamping and clamping; brilliant and enthralling.

A set of varied compositions from Frank Denyer, most of them of a delicate acoustic intimacy, with works for female singers & flute, two works for koto, a string quartet, one for flute and electronics and the two-part "Frog" for a bowed stringed instrument of Denyer design, the "sneh"; uncategorizable music of sublime imagination and unusual approaches.

A beautifully hypnotic album of saxophone, accompanied by Pan-Ney, Shruti Box and Organ, recorded in overdubs by composer/wind player Werner Durand in this 2nd chapter of his trilogy focused on the Pan-Ney, a self-built instrument for repetitive foundations, as Durand draws on elements of nature, mythology, dance, religion, literature and folklore.

Brooklyn-based composer, bassist, and writer Nick Dunston in his debut album, blending jazz, contemporary, chamber and avant forms, in a uniquely voiced quintet with Louna Dekker on Vargas on flutes & piccolo, Ledah Finck on violin & viola, Tal Yahalom on guitar, and Stephen Boegehold on drums, in a sophisticated album of concisely fascinating compositions.

Containing the majority of minimalist composer Morton Feldman's compositions for solo piano, 3 CDs of short works and 2 for the magnificent "For Bunita Marcus" and "Triadic Memories", performed by one of the foremost interpreters of Feldman's work, Philip Thomas, and presented in a sturdy 5-CD box set with a 52 page booklet of notes from the performer and artwork.

Drawn from 305 traditional ballads from England and Scotland alongside their American variants, anthologised by Francis James Child during the second half of the nineteenth century, are here sung by Ed Pettersen in the fascinating intersection of traditional lyrics and experimental interpretations of melodies, performed by the 11-piece London Experimental Ensemble.

Drawn from 305 traditional ballads from England and Scotland alongside their American variants, anthologised by Francis James Child during the second half of the nineteenth century, are here sung by Ed Pettersen in the fascinating intersection of traditional lyrics and experimental interpretations of melodies, performed by the 11-piece London Experimental Ensemble.

Jakob Ullman's 5th solo work for piano is atypical for a piano performance, using electronic playback and requiring three assistants sustaining a soundscape to realize a concept of "gravity" that Ullman applies as laws in a conceptual soundscape modified by a series of abstract images, resulting in unexpected sonic environments, tones, timbres and momentum.

A beautiful rendering of French composer Eric Satie's 1918 masterwork "Socrate", originally for four sopranos and chamber orchestra, here stripped to its essence as a duo with Olalla Aleman on soprano and Guy Vandromme on piano, maintaining Satie's characterist reserve and refinement in the 3 parts: "portrait of socrates"; "banks of the ilissus"; and "death of socrates".

John Cage wrote his "Number Pieces" in the last years of his life, using his time bracket technique of short fragments allowing the performer flexibility in interpretation; each piece is titled for the number of performers and its ordinal position in the series, and most pieces are dedicated to a musician; here pianist Guy Vandromme performs three of the "One", or solo, series.

Two distinct works by Swiss composer and bass clarinetist Jurg Frey: the 1st, recorded in Connecticut, a quintet composition from 2009 for bass clarinet, cello, violin, keyboard and electric guitar, Frey's harmonies creating an open instrumentation for the clarinet and cello; the second a 1997 composition for multitimbral field recordings and bass clarinet.

A much-needed reissue of this 2000 CD of three orchestral works from late composer Morton Feldman--"String Quartet and Orchestra" (1973), "Oboe and Orchestra" (1976), and "Atlantis" (1959)--demonstrating the evolution of his incredible control in working with tone, mood and instrumental combinations, from his earliest large-scale work to later mature works.

Internationally acclaimed for both his solo and ensemble music performed, Dutch multi-wind player Ab Baars presents a studio album of solo playing on the clarinet, saxophone, and shakuhachi, inspired by and focusing on the traditions of ballads from great saxophonists, with improvisations colored by songs like "Naima", "Body and Soul", "Solitude", &c.

The full two-hour performance of Cornelius Cardew's entire 193-page legendary Treatise graphic score, performed at Iklectik in London, England on January 28, 2017 in an 11-member ensemble of some of London's most interesting improvisers including participants in Scratch Orchestra, in a double CD release with liner notes by AMM founder Eddie Prevost.

A double CD of delicate music from the French composer Bruno Duplant, the first disc containing three chamber pieces exquisitely played by the Suidobashi Chamber Ensemble, the second disc a long piece for solo guitar, performed by Taku Sugimoto in a public park in Tokyo, incorporating an extraordinary variety of environmental sounds.

Five years in the making, composer Scott Johnson transcribed the speech of philosopher Daniel C. Dennett (Committee for Skeptical Inquiry) into this extended, 8-movement suite, using a rich, detailed set of musical landscapes blending musical genres that run in parity with the voice of Dennett, as Johnson emphasizes and highlight his insightful thinking.

A diverse set of artist interpret a random page from Cornelius Cardew's "Treatise", using the score alone with each artist unable to hear what the other participants were playing, which Spool label-leader Daniel Kernohan assembled into these 10 incredible audio tracks, each roughly 4:35 long, in a great interpretation of Cardew's (in)famous work.

Morton Feldman's final composition, originally premiered in 1987, here performed by pianist Mark Knoop, violinist Aisha Orazbayeva, violist Bridget Carey, and cellist Anton Lukoszevieze, recording a year after their successful performance at London's Cafe Oto, maintaining focus and concentration on this large, unhurried work of micro-variations.

An extended improvisation between spinet player Christoph Schiller and Boston-based composer/violinist Morgan Evans-Weiler, recorded in Schiller's workshop in Basel during Evans-Weiler's tour of Europe, a slowly moving exploration of pitch, timbre and texture executed with intensive concentration and utterly impressive control.

An impressive triple-CD box with recordings of some late works by John Cage, including "Seventy-Four for Orchestra, 1992", "103 for Orchestra, 1991, part 1 & 2", In a Landscape fur Harfe", "Postcard From Heaven fur Eine Bis Zwanzig Harfen", and some of "The Harmony of Maine"; including a 32 page booklet with photos and liner notes by Jakob Ullmann.

These recordings of pieces by John Cage were made at a performance called Silence & Transmission led by Peter Upreth conducting an ensemble of four performers using radios and voice, held at An Lanntair Arts Centre, Stornoway on the Isle of Lewis in the Outer Hebrides on 20th September 2012, as part of the celebrations for Cage's centenary.

Anthony Pateras was commissioned to compose this work by Synergy Percussion for their 40th birthday in 2014, performed with a six piece ensemble including electronic artist Jerome Noetinger, using the same instrumentation as Xenakis' "Pleiades" of more than 100 orchestral percussion instruments, including Xenakis' 17-pitch microtonal metallophones.

Balancing explosive free improv with moments of lyrical introspection, pianist Marilyn Crispell performs a powerful solo set recorded at the 1987 Festival International de Musique Actuelle de Victoriaville, weaving dense clusters, driving rhythmic passages, and delicate melodic reflections into a deeply expressive exploration that nods to Cecil Taylor's influence while asserting Crispell's own distinctive voice.

Composed between 1926 and 1939, "Mikrokosmos" was Bela Bartok's attempt to solve certain technical problems in the art of piano playing, here adapted by the 5-piece Quartetski into a fascinating series of progressive exercises and etudes, oddly enough presented without a piano.

Morton Feldman was a friend, flatmate and student of John Cage's innovative approaches to composition; he wrote this 3 part work for violin and piano in 1982 as a 70th birthday present for Cage, here performed by violinist Josje Fosie Ter Haar and pianist John Snijders.

A live performance at Judson Church in Manhattan as part of the 20th Vision Festival from the NY/France free improvising trio of Joelle Leandre on double bass, Mat Maneri on viola, and Gerald Cleaver on drums and percussion, two tracks of steadily building, incredibly compatible dialog.

Two works from two distinctive composers from different periods--Jurg Frey and Luigi Nono--both for two violins, Frey using the two violins in parallel to emphasize their distinction; Nono using powerful gestures of divergence and contrast in a dream-like duo.

A 2003 recording from The Ensemble Daswirdas performing John Cage's 1960 composition "Cartridge Music", described as: "For amplified small sounds; also amplified piano or cymbal; any number of players and loudspeakers; parts to be prepared from score by performers."

Two interpretations of Luigi Russolo's 1914 Futurist noise composition "Risveglio Di Uns Citta" ("The Awakening Of A City"), performed forwards and backwards, from a live performance at Squidco headquarters in Wilmington, NC.

Pushing the envelope on minimalism, Manfred Werder's 3 scores for "2003" present just 6 tones, the instructions telling 3, 2 or 1 performers to play a pitch or sound for 3-7 seconds twice during the performance; realized by Erik Carlson, Stephanie Richards, and D. Edward Davis.