A glowing new concerto for soprano saxophone by Anna Clyne made in its New York premiere together with music by Brahms and Emilie Mayer.

Yugoslav-Israeli intellectual and Holocaust survivor Yehuda Elkana may be best known for his insistence that a people must leave the traumas of the past behind in order to thrive. With 'Que sais-je?' Amos Elkana, Yehuda's son, has created a profound portrait in music of his father.

18th-century music that kept the lute alive, and a world premiere recording of an early 18th-century Scottish opera

A battle of wits, means, and consciences, scripted in iambic pentameter, adds up to a zippy, funny, and ultimately dark comedy that requires close attention – and repays it handsomely.

Aucoin's vision asserts itself from the first touch of the first movement's mysterious music, with fluttering melodies from angsty high-pitched woodwinds and metallic percussion strokes.

Deep and dizzying, joyful and flecked with horror, this work of "absurdist clown physical theater" is a remarkable plumbing of history and childhood.

The concert was only a few minutes old and I was already scribbling in my notebook phrases like "as if pulling out the guts of the piano itself." And I meant that admiringly.

A bang-up new outdoor staging encompasses the antic and the noble, the violent and the honorable, the grubby and the regal.

This production provides an excellent introduction to the Vienna-born composer for those who aren't familiar with him – a group that may include many opera fans.

The Crossing, the elite new-music chamber choir led by Donald Nally, routinely pushes the boundaries of what kinds of music a group of human voices can create.