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.

Four large and distinctive works by composer Christopher Fox performed by pianist Philip Thomas, who also writes the liner notes about the works, revealing and explaining the compositional elements, piano preparations, and physical requirements placed on the performer.

Swiss drummer & percussionist Fritz Hauser's solo album creates a fictional percussion center that he uses as as springboard to compose solo works for spaces within the [non-existent] environment, depicted in both spacious and active sound work, generating open-air locations with bird sounds and cymbals and areas of quick-paced activity; absolutely impressive.

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.

First recordings of composer Katharnia Rosenberger's SHIFT and other dynamic and exciting works incorporating spatialization, by an electroacoustic orchestra including Rage Thrombones, captured in 2016 at the University of California, in San Diego, California.

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.

Stockhausen's late 60s composition "Mantra" was a return to his intricately systematised approach to musical construction, expanding the possibilities and potentialities of the serial principle to allow for more melodic and embraceable compositions.

Composer Liza Lim presents 3 lesser known works: "The Compass" for orchestra with solo parts for flute and didgeridoo; "Pearl, Ochre, Hair String" featuring a cello solo using a guiro bow; and "The Guest" written for recorder soloist Jeremias Schwarzer.

Alternating between Stockhausen and Beethoven, pianist Pi-Hsien Chen performs solo works including "Klavierstuck", "Sonata A-Dur Op. 101" and "Sonata C-moll Op. 111", contrasting and comparing the innovations of both composers.

Four large and distinctive works by composer Christopher Fox performed by pianist Philip Thomas, who also writes the liner notes about the works, revealing and explaining the compositional elements, piano preparations, and physical requirements placed on the performer.

New works for the accordion composed by Vinko Globokar, Toshio Hosokawa, Youghi Pagh-Paan, Rolf Riehm, and Salavatore Sciarrino and performed by Teodoro Anzellotti.

The Ensemble fur Neue Musik Zurich plays seven pieces by Swiss composer Dieter Ammann, each made through a very slow creative process that contrasts the very lively and gestural music.

Although she has probably become known as one of Australia's best-known composers, Liza Lim's compositions undermine centuries-old Eurocentrism and are largely inspired by Asian culture.

Guillermo Gregorio produces a series of compositions that reinterprets the structural concepts of Constructivism, Concretism, and Madi, focusing on the physicality of sound.

Pianist Steffen Schleiermacher plays six spiritual pieces by composer Dane Rudhyar that are not meant to be analyzed and thought about, but to be felt and experienced.

Pianist and composer Daniel N. Seel plays four pieces from four generations of different composers including Stefan Wolpe, Morton Feldman, Walter Zimmerman, and his own work.

Four composers - John Carisi, Eddie Sauter, Christian Wolff, and Stefan Wolpe - create a program of works with a measured balance in the interrelated and contrasting material.

Composer Clarence Barlow, like Beethoven, builds his own labyrinths, brick by brick, and then searches for an escape by creating conceptual forms to get around the traps of time, tonality, and style.

A series of musical "mobiles" from European composer Roman Haubenstock-Ramati, sonic transformations of the visual experiences of Alexander Calder's dynamic sculptures.

Ensemble Recherche plays chamber music pieces by Polish composer Roman Haubenstock-Ramati that are dynamically explosive and allow for the free communicating of the musicians.

Pianist Stephen Clarke plays seven works for solo piano by Estonian-born, Canadian-naturalized composer Udo Kasemets that focus on specific designs of micro-detail.

Composer Ernstalbrecht Stiebler presents three solo pieces, one for accordion (Teodoro Anzellotti) one for piano (Marianne Schroeder) and the third for organ (Huub Ten Hacken).

Ensemble XII performs pieces by percussionist Fritz Hauser that were composed with an attention to detail that is heard in the timbre, texture, density and dynamics of his arrangements.

Sebastian Gottschick's adaptations of Ives' songs and short instrumental pieces pay homage to the composer and develop his work further, as conducted by Gottschick with the ensemble fur neue musik zurich.

Pianist Pi-Hsien Chen performs both the playful and quirky sonatas of Domenico Scarlatti juxtaposed to John Cage's I Ching developed compositions, "Music of Changes", which complement each other in unexpected and sublime ways.

"Music of Changes" was composed by John Cage using the hexagrams of the I Ching and has no sense of structure, continuity, rhythm, or speed; change itself is the only consistent aspect of the work.

"Texturen" for seven musicians and eight other works from composer Katharina Rosenberger, blending acoustics, electronics and voice in inventive ways, as performed by the NY Wet Ink Ensemble.

Pi-hsien Chen performs Arnold Schonbgergs, a small part of his oeuvre, yet significant in that they reflect the evolution and development of this great composer's compositional powers.

The Ensemble Fur Neue Musik Zurich perform the works of modern women composers: Katharina Rosenberger; Ada Gentile; Carmen Maria Carneci; Liza Lim; and Noriko Hisada.

John Cage and Pierre Boulez met in 1949, forging a long and valuable musical friendship, as seen through the parallels in these works by both composers, performed by Pi-Hsien-Chen & Ian Pace.

Works for piano, percussion, and one including magnetic bands, from Luc Ferrari, composed between 1956-1988, here performed by pianist Satoko Inoue and percussionist Toshiyuki Matsukua.

Two works for piano composed under Stalinist rule by Dmitri Shostakovich and Sergei Prokofiev, recorded in 2009 by pianists Ufuk & Bahar Dorduncu.

American pianist John Snijders performing the music of European composers Christopher Fox, Ivo Van Emmerik, Richard Rijnvos, James Rolfe, and Luca Francesconi.

Early works from avant-garde composer Christian Wolff, including pieces for prepared piano influenced by John Cage's ideas for the same instrument.

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

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.