Contemporary

In this music Liang raises the process of creation to such an esoteric level that the substance thins out almost to the vanishing point.

"Living with this music over time has only deepened my understanding of the country and its people. The project now feels more like an ongoing conversation – something unfinished, and in progress, and very necessary."

It's quite possible to enjoy (or disdain) the music without thinking or knowing anything about music theory. A little bit Charles Ives, a little bit Raymond Scott, a little bit Looney Tunes, it conjures a fusion – really a plurality of fusions – all its own, and all with tongue in cheek.

There's a lot of pain and grief here, but it has inspired a suite of eclectic and eccentric chamber music that's almost operatic.

It's as if the violin can't stop swatting at mosquitos while the cello sings a sad, halting, unmoored kind of song.

Evocative electroacoustic music from composer-percussionist José Martínez engages with the composer's Latin heritage, and with the absurd, while pushing creative boundaries.

At his recital debut at Carnegie Hall's Weill Recital Hall, Crosett showed ability and fire to spare, with plenty of charisma and good humor to boot.

Pianist Donald Pirone continues his long engagement with the music of Karol Rathaus on a new EP featuring the composer's fourth Piano Sonata.

Percussion music can sound dry and detached. Most of the music on Portland Percussion Group's new album is anything but.

Richard Carrick is out with the second part of his Maghreb-inspired triptych, which began with last year's 'The Atlas.'