Listed in the Russian Composer’s Union as a Russian composer, Vietnamese-born Lantuat Nguen (Nguyễn Lân Tuất) is author of numerous vocal and instrumental works and five symphonies, the latter being his main stream of creativity. His music has received highest acclaims from critics as possessing the natural combination of classical tradition and modern language. Even for those unfamiliar with classical music, listening to Lantuat’s symphonies for the first time will bring their emotions to the surface. Shostakovich and Schnittke are obvious influences on the music of Lantuat, but his heart never strays from from thoughts of his beautiful and tragic homeland, and while not obviously folkloristic, his scores frequently include a subtle Vietnamese nuance.

A tribute to the late David Bedford. Bedford employed a wide range of styles and media in a half-century career that saw him move from young iconoclast to eclectic purveyor of music for all seasons and needs. While better known for his innovative Prog Rock albums, the current program focuses on his concert music, including "Aleluia Tympanis" (which re-purposes some themes from "Instructions for Angels"), his Lennox Berkeley-inspired Symphony No. 1 and the colorful Recorder Concerto, which among other special techniques, calls for the soloist to play two instruments at the same time.

In addition to being a renowned new music pianist, Margaret Leng Tan is the foremost specialist at the toy piano. She has concertized worldwide with her miniature instruments, bestowing them with serious music status in repertoire both written for her and arrangements. For this disc of attractive yet challenging music, Ms. Tan performs Cage’s classic “Suite for Toy Piano” plus her arrangement of Cage’s seminal “Dream” for toy & grand piano (a work that foreshadowed new age music); and her arrangement for voice and toy instruments of a recent song by George Crumb.

Ensemble SINAWI combines the earthy power of Korean folk song, Shamanistic improvisations, and pansori narrative song with a smart, sexy, contemporary chamber jazz attitude. The result is both exotic and oddly familiar, touching something primal within us. Ensemble leader and pianist Jeong Songhee is joined by an outstanding quartet of traditional Korean musicians in a series of hauntingly beautiful tracks inspired by Korea's colourful musical heritage.

This is a full CD with music by the chulhyungeum. This instrument is an iron-stringed zither designed by Kim Yeong-cheol in the 40s. It is played by a plectrum and a pick on the left hand with possible techniques like vibration, gliding tones and bending tones. It became one of the first new instruments to play the Korean traditional style of sanjo (solo traditional music accompanied by an hourglass shaped drum). Definitely recommended for people interested in expanding the possibilities of the guitar.

Prolific Korean composer Lim June-hee has composed everything from musicals to electronic music and writes in an accessible, broadly nationalist idiom. She succeeds is fusing the unique timbres of Korean traditional instruments with a western sense of harmony and development, and as a result, is one of Korea's most popular modern composers.

The Tori Ensemble represents a collaboration among some of the most respected musicians of the Korean classical tradition and the New York avant-garde scene, transcending musical borders in its acclaimed work that mingles jazz, new music, and ancient Korean traditions ranging from shamanistic rituals to pansori vocals. Re-Ripped, Re-Upped with New Mirrors!

Yasushi Akutagawa (芥川 也寸志 Akutagawa Yasushi?, July 12, 1925 — January 31, 1989) was a Japanese composer and conductor. He was born and raised in Tabata, Tokyo. Akutagawa was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music. He was one of the members of Sannin no kai (The Three) along with Ikuma Dan and Toshiro Mayuzumi. His compositions were influenced by Stravinsky, Shostakovich, Prokofiev and Akira Ifukube.

Highly tuneful, virtuosic piano and instrumental music from the years of the Great Chinese Cultural Revolution. Repertoire is almost completely unknown in the West. Album features officially sanctioned ”propaganda music,” compositions originating from tribal Chinese minorities, and works by politically persecuted and even imprisoned composers. Several tracks feature Tian's highly evocative arrangements for piano, accompanied by traditional Chinese instruments like the pipa (lute), bamboo flutes, and Chinese hand drum.

This disc features two works by the Korean composer Kim Kuk-jin that explore the possibilities of adapting the paramount Korean instrumental tradition of Sanjo to western musical instruments. While the origins of Sanjo ultimately lay in the improvisational traditions based in equal part on the shamanistic music known as Sinawi and Pansori epic solo narrative song, Sanjo, as a unique idiom only came into existence at the end of the 19th century. Kim's musical language tends toward the conservative side of the spectrum, but there is absolutely no mistaking this as "western music." An unusual and rather beautiful program.

Here is the next installment in our survey of 20th century Chinese piano music. The current program
a truly fascinating selection of works by several names well-known to western audiences: Long Zhou, Chen Yi and Bright Sheng - all currently residing in the US. The music on this disc is surprisingly "percussive" and at times, even "jazzy."

Few pieces of classical music have been subjected to as many transcriptions and transformations as have Vivaldi's Four Seasons! From kotos to synthesizers, buskers to brass brands… Vivaldi's enchanting melodies have proven to be a truly universal language. The present recording, a recent acquisition during a trip to Seoul, is another oddly charming version to add to you collection - a Korean Four Seasons, performed by the Seoul Metropolitan Traditional Music Orchestra!

The viola-and-piano music performed on a CD called “Russian Viola Sonatas” is almost all unfamiliar: every piece here except the sonata by Paul Juon (1872–1940) is a world premiere recording. While none of the works are brimming with Nationalist flavor, each is written in an attractive, late Romantic idiom that is ideally suited to the Viola's dark-hued timbre. Nelson and Inanga have clearly studied these works carefully and internalized their salient elements: the performances not only sound very good but also seem quite idiomatic.

Here is the next installment of our survey of Chinese Piano music. In addition to including He Luting's ubiquitous Buffalo Boy's Flute, and another version of Ding Shande's popular "Children's Suite," the current program includes several rarities that make it more than worth the bandwidth to download! First, there are several works by Jiang Wenye (known as Koh Bunya in Japan) - whom we will hear more from in the near future; then there are rarities by various composers from Hong Kong and Taiwan, but without a doubt, the jewel in the crown is a stunning reading of Chou Wenchung's miniature masterpiece, "The Willows Are New" - a stunning essay in translating the musical language of the Chinese Guqin zither to the modern concert grand piano.

Carlos Chávez received formal training as a pianist, but was largely self-taught as a composer. His formative years coincided with a time of intense nationalism in Mexico brought about by the end of the Mexican revolution. His investigation into Indian cultures, native folk music and dance forms were of significant influence in his music, which was characterized by a highly distinctive use of cross-rhythms, syncopation, irregular meter and colorful orchestration.