Terry Riley's Keyboard Studies (1964) represent the fundamentals of hardcore minimalism. As such, it comes across as something of an historical artifact now that "minimalism" has become absorbed into the vocabularies of a wide range of composers. Nevertheless, minimalism remains fascinating on its own terms, and mostly in its hypnotic suspension of time. The two studies presented here are based on small cells of repeated material, which shift in and out of phase with themselves to produce a continuous variety of evolving secondary patterns.

Dutilleux belongs to that rare breed of composers whose music is both harmonically and rhythmically rich but with a twist that cannot easily be foreseen in advance, although this may not always be clearly realized. Dutilleux has never been a prolific writer of symphonies. Premiered more than 40 years ago by the composer, Dutilleux's only two symphonies are emotionally charged with apocalyptic brass writing that is reminiscent of William Schuman with a touch of Stravinsky and Messiaen thrown in the mix. The more intimate string and solo wind writing in the second symphony appear with variant treatment in each of the three movements leading up to the symphonic cohesion (hence Double) with the two competing forces interacting through distorted images of each other. In this recording, Yan Pascal Tortelier gives an outstanding performance, as he usually does when it comes to Dutilleux.

The music of Japanese composer Somei Satoh (b. 1947) is, first and foremost, a spiritual experience. By mingling minimalism and traditional Japanese music, imperturbably ascetic narratives with the sensuous appeal of endless melody, Satoh opens another avenue on comtemporary music for listeners already transfixed by the music of Arvo Pärt, Henryk Gorecki and John Tavener.

Originally composed for the Kronos Quartet in 1988, Different Trains is presented in an orchestral version in this album. Scored for string orchestra accompanied by pre-recorded tape, this is an album that will transport you back into the distant past evoking forgotten memories in their vivid images, be they real or imaginary.

Produced and released by no other than John Zorn and his Tzadik label, this is another special project from multi-instrumentalist/composer/improviser, Fred Frith, who has been bravely crossing musical borders since the early 1970s. No doubt dynamic and astonishing in their scope, these remarkable duo sessions were recorded during the filming of Thomas Riedelsheimer's exquisite documentary, Touch The Sound, which is about Scottish virtuoso percussionist, Evelyn Glennie. Combining the unpredictability of an improvised first encounter with the magic of studio composition, this is music of another dimension, highlighting the power and sensitivity of both players.

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As an architect and mathematician, Iannis Xenakis brings an unusual eye to bear on his compositional ear. He rejected twelve-tone composition decades ago, instead pushing the envelope further on determinate numbers and sounds and generating a broader palette of available sounds. Graphical notation has been one of Xenakis's chief means of expression, allowing him to script sharply sliding glissandi and what he calls non-octave scales. This 2-CD set collects three string quartets and the busy, aching Akea, Xenakis's quintet for piano and strings. The unsurpassed Arditti String Quartet plays the ensemble pieces, and then farms out constituent members to play the solo and duo pieces. Pianist Claude Helffer creates pointed havoc on his three solo appearances, offering spare tones and dense steam alike. When playing with the Ardittis, Helffer makes himself central to the hard punch and slightly mad—extremely unconventional drama. —Amazon.com

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It must be an exciting time for Philip Glass. At the age of 71, Glass found a new love, a new muse, and a new collaborator—the acclaimed cellist Wendy Sutter, who is perhaps best known for her work as part of the Bang On A Can ensemble. Critics hail the work as powerful and exalted: he enlightens, she inspires (so we're made to believe). But who would have thought Glass could be so sentimental, especially at that ripe old age? Listen for yourself. You might become a little inspired, if not more enlightened, yourself.

In Orpheus and Euridice, a work composed in 1972 and expanded in 1983 as a dedication to Yehudi Menuhin and Edna Michell, Lukas Foss sought to evoke the feeling of an unfamiliar time and place by weaving elements of pantomime with unconventional instrumental timbres. The effect of the new synthesis sought to humanize the work while balancing its alienated, otherworldly character with moments of warm-blooded passion, and to heighten the sense of loss at the end.

This CD features highlights from a four-night series of performances by Steve Reich’s own group, showcasing five seminal works from the celebrated composer’s early career – including the famous Six Pianos, Violin Phase, and part of Drumming—in a live recording made at New York’s legendary experimental arts venue, The Kitchen, in May 1977. The recordings on this release are classic representations of Reich's early musical style and reflect his use of repeated patterns and, in Violin Phase, Drumming, and Pendulum Music, his original phasing technique.

When it comes to Philip Glass, merely mentioning his name alone engenders equally passionate reactions of appreciation or vitriol. Supporters applaud him for rescuing classical music from the dead end of serialism; detractors condemn him for perpetuating a numbingly repetitive and simplistic style. While an early groundbreaking work like Einstein On The Beach (1975-6) understandably polarized audiences with its audacious challenges to operatic conventions, Glass continues to this day to upset listeners despite evolutionary changes which have rendered his musical style more accessible. To this end, Etudes for Piano, Vol. 1, no. 1-10 serves as one more brilliant example of why Philip Glass might be labeled as the composer you would love to hate. Created to expand his own technique, hence the name Etudes, these compositions are more emotionally expressive and intimate than those on Solo Piano (1989), and adhere less rigidly to a principle of structural repetition. Dynamic contrasts of tempo and mood abound, bestowing a sense of singularity upon each piece. The majestic "Etude no. 6" and celebratory "Etude no. 1" contrast, for example, with the ruminative second and fourth pieces, whereas the aggressive third hews more closely to Glass’s trademark style. While many of the pieces are densely arranged, "Etude no. 5" is almost skeletal by comparison, its lack of adornment accentuating its melancholy aura. Overall, the recording is atmospheric and resonant, and presents a more romantic side of Glass. The affectingly wistful "Etude no. 8", for example, recalls The Hours’ elegiac mood.

Here are the three musical titans from a bygone-era of the Soviet empire: Estonian composer Arvo Pärt, Ukrainian composer Valentin Silvestrov, Russian composer Galina Ustvolskaya. Between them lies the vastness of the landscape of what is now called "post-Soviet" music. At the same time there are shared characteristics that bind these composers. In its recordings, ECM has shown a special affinity for Pärt and Silvestrov. The label has helped to establish the musical reputation of both men, with meticulously-realized recordings. Russian pianist Alexei Lubimov, now in his early sixties, has also had a close working relationship with both composers and, through his beautiful and yet poetic touch, has become an important advocate for their art.

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Savage Altars, from a concert performance by the Tudor Choir, derives its title from the Roman historian Tacitus' Annals Book I, which chronicles the Roman campaigns against the German tribes. They suffered a devastating defeat by the Cheruscan soldiers in the Teutobugian forest. Six years later, the remains, bleached out bones, splintered spears and debris, of three Roman Legions, were found, the whole of which was named "barbarae arae"—savage altars. Elements of the hymn Magnificat, and the canon "Sumer is i cumen in" are also interwoven in melodic and textual contributions. This was written on the eve of the first Gulf War under Bush the elder. —Ingram Marshall

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An innovator in electronic and minimalist music since the 1970s, David Borden made his mark as the leader of Mother Mallard, the world's first all-synthesizer ensemble, predates groups like Kraftwerke and Tangerine Dream. In the period between 1973 and 1976, Mother Mallard released two albums, of which Like a Duck to Water was Mother Mallard's 2nd & final release (originally released in 1976). The music is a unique and extremely enjoyable blend of space electronics (à la Tangerine Dream, Klaus Schulze), minimal music (Terry Riley, Philip Glass), and contemporary classical & electronics (Gordon Mumma, John Cage). This album showcases a uniquely American slant on synthesizer music by a band whose pioneering contributions to the genre had been forgotten, well, until now.

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One of Schnittke’s masterpieces, the Piano Quintet was written following the death of the composer’s mother. It covers a wide range of emotions, now despairing, now somewhat mock-happy in the manner of Shostakovich, and ultimately landing on a plain of transcendence that is almost childlike in its imagery. The Quintet begins with a mournful piano solo, that later escalates into a repeated note that sounds more dire with each repetition. To my ears, this is grief incarnate, a driven, almost senseless cry for the pain to stop. On the other hand, in the Piano Trio, the ghosts of Beethoven and Schubert hang in the air from the very first chord, albeit swirling around with Schnittke’s more piquant harmonies. This is one of the composer’s most clear experiments with what sound like Baroque cadences, but of course with his characteristic astringency. —Bruce Hodges

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