Three Tales is a video-opera in three acts (titled Hindenburg, Bikini and Dolly) with music by American composer Steve Reich and visuals by Beryl Korot, his wife. It is scored for two sopranos, three tenors, string quartet, percussion, keyboards, and pre-recorded audio. Its premiere was at the Vienna Festival on May 12, 2002; the BBC had commissioned a version for television broadcast four months later. The 12-minute tale Hindenburg had been written (and recorded) in 1998, while the remaining tales were completed (and recorded) in the year of the premiere.

Philip Glass' soundtrack to Martin Scorsese's Dalai Lama epic Kundun captures the grace, beauty, joy and melancholy within the film. Glass uses familiar minimalist structures, but works with traditional Tibetan instrumentation and monks, giving the music an alluringly otherworldly feel. It's an entirely original, evocative score, and one of Glass' high-water marks in the field.

Orange Mountain Music presents the world premiere recording of Philip Glass' The Passion of Ramakrishna. Commissioned by the Pacific Symphony and premiered in 2006 during the opening of the Segerstrom Center for the Arts in Orange County, Glass' 45 minute oratorio, written for soloists, chorus and large orchestra, is a passion play and a tribute to 19th Century Indian spiritual leader Sri Ramakrishna. The work portrays his death with the chorus taking up the voice of Ramakrishna himself and the soloists are those of his loved ones, doctor and disciples. Maestro Carl St.Clair, a longtime champion of the music of Philip Glass, leads the Pacific Symphony, Pacific Chorale and soloists Christopheren Numura, Janice Chandler Eteme, Kevin Deas, I-Chin Feinblatt and Nicholas Preston.

This 8CD set bring the listener back to the roots of Minimalism, all works were written in the seventies of the 20th century, a time when the new aesthetics and perception of music, sound, repetition and time experience were creating a new chapter in music history. The longest piece is the 5 hour “November” by Dennis Johnson, a work in which the player is free to build the intervals and chords according to his own timing and spacing. The other composers in this set are Philip Glass, Tom Johnson, Peter Garland, Terry Riley, Harold Budd and La Monte Young. Recorded in his own studio by the most important protagonist of Minimalism today, Dutch pianist Jeroen van Veen. Van Veen has a myriad of recordings to his name, notably the multi CD boxes Minimal Piano Collection 1 and 2, complete Satie, Einaudi, Tiersen, Jacob ter Veldhuis, Simeon ten Holt and many more.

This low-budget Philip Glass opera, Les enfants Terribles, is based on a novel and play by Jean Cocteau, forming the third ring in Glass' trilogy of works devoted to the elaborate personal mythology of the great French visionary. Foregoing the controversial and dualistic 1949 film of Les enfants Terribles made by Jean-Pierre Melville, Glass decided to realize the visual element through a collaboration with choreographer Susan Marshall, re-creating Cocteau's story as a "dance opera." Les enfants Terribles is the most compelling Glass score beheld in many years.

For all the agony as to the status of classical music in the modern musical landscape, the three 20th century string quartets on this fine French release can be said to have entered the repertory, with a reach that extends far beyond the U.S. They go quite well together, which is the first point in favor of France's Quatuor Diotima here; both Steve Reich's Different Trains, for string quartet and tape, and George Crumb's Black Angels for electric quartet feature an artificially enhanced string quartet, and even Samuel Barber elected to "enhance" his String Quartet in B minor, Op. 11, by orchestrating its central movement and making it into the famous Adagio for strings. Highly recommended.

Pianos in The Kitchen brings together select concert recordings of solo piano works performed at The Kitchen from 1976 through 1983, including works from the 1976 Bösendorfer Festival and the 1983 series of benefit concerts that supported the purchase of a new Steinway Baby Grand piano for the institution. Featured are names familiar to The Kitchen’s history such as Philip Glass, Meredith Monk, Charlemagne Palestine, and Anthony Davis as well as performers/composers Harold Budd and Dennis Russell Davies, who have enjoyed important careers, but are not necessarily associated with The Kitchen’s programming. This CD covers a range of genres, from jazz to classical to new music. All of the recordings document performances in which the piano–the instrument most central to the development of Western music–is played, explored, and extended.

This may be the single most powerful piece of music that the Kronos Quartet has ever recorded, and perhaps that Terry Riley has ever written. This is because Requiem for Adam is so personal, so direct, and experiential. Requiem for Adam was written after the death of Kronos violinist David Harrignton's son. He died, in 1995, at the age of 16, from an aneurysm in his coronary artery. Riley, who is very close to the Harringtons and has a son the same age, has delved deep into the experience of death and resurrection, or, at the very least, transmutation. Requiem for Adam is written in three parts, or movements. The first, "Ascending the Heaven Ladder," is based on a four-note pattern that re-harmonizes itself as it moves up the scale. There are many variations and series based on each of these notes and their changing harmonics, and finally a 5/4 dance as it moves to the highest point on the strings. The drone-like effect is stunning when the listener realizes that the drone is changing shape too, ascending the scale, moving ever upward and taking part in the transmutation of harmony.

Michael Nyman (born 1944) is one of the most famous and successful film music composers of our time. His music, although inextricably connected with the visual action of a film, has the quality to stand on its own, to evoke and express the visual emotions in sounds only. Nyman’s most famous film score is of the film “The Piano” , becoming an instant hit. Its openness and its deceptively simple musical lines appealed to a mass audience. The music featured on this recording is either originally written for piano or arranged by the composer himself. Minimal Music champion Jeroen van Veen has been fascinated by Nyman’s music his whole life, and the recording of it was a logical step. He is the ideal interpreter of this seductive, mind opening music.

The music on this recital was specifically written or arranged for duo violinists Angela and Jennifer Chun. It highlights the personal and professional connections between Philip Glass and Nico Muhly, a longtime colleague and admirer of Glass's work. Glass's miniaturist works, Mad Rush and In the Summer House, create a maximum effect when paired with Muhly's minimalist Four Studies and Honest Music.

Following their internationally acclaimed recording of Steve Reich's masterpiece Music For 18 Musicians, Ensemble Signal and Brad Lubman present two recent pieces by the composer: Double Sextet from 2007 and Radio Rewrite from 2012. Double Sextet is scored for two sextets of flute, clarinet, violin, cello, vibraphone and piano. It won the 2009 Pulitzer Prize for Music - the first for the composer. Radio Rewrite is a work for instrumental ensemble inspired by two songs by the British rock band Radiohead - ''Jigsaw Falling into Place'' and ''Everything in Its Right Place.'' The piece represents the first time that Reich has reworked material from western pop/rock music. These strong, tuneful, energetic, tightly made works receive impassioned performances from Ensemble Signal, who The New York Times has called 'one of the most vital groups of its kind.'

Valentina Lisitsa's double-CD of the music of Philip Glass is a generous collection of excerpts drawn from his film music, including The Hours, The Truman Show, and Mishima, as well as from concert works, such as Glassworks, How Now, The Metamorphosis, and Mad Rush, among other selections. While Glass achieved fame through his early ensemble pieces, where he developed a bright-edged sound through the use of electronic keyboards, his minimalism is easily adaptable to the piano, though the characteristic ostinato patterns that gave his earlier scores a fierce energy are somewhat softened in the piano's blander sonorities and more introspective tone. Lisitsa has found a niche in playing minimalist music, as she demonstrated on her successful 2014 album, Chasing Pianos, where she explored the film music of Michael Nyman. This collection is a natural follow-up, and Lisitsa's aptitude for Glass' style is shown in her steady, rocking rhythms and even dynamics, as well as in her poignantly lyrical expressions.

Bojan Gorišek is the leading Slovenian pianist in the field of contemporary music, perhaps best known for recording the complete piano opus (10 CDs) of Erik Satie for the Blaricum Music Group of the Netherlands and the English label LTM Recordings. Those recordings, rated among the best ever made, represent the most complete review of Satie’s piano compositions to date. He has recorded over 30 CDs to date, including four CDs by George Crumb, the piano sonata Concord by Charles Ives and two CDs by Philip Glass for the Blaricum Music Group (Audiophile Classics series). He has also recorded the complete piano opuses of a number of Slovenian composers. Most recently, he has received high regard for his interpretations of Arvo Pärt and Philip Glass.

Orange Mountain Music presents the world premiere recording of Philip Glass’ A Madrigal Opera performed by Finland’s Ooppera Skaala. Glass’ second opera after the hallmark Einstein on the Beach in 1975, A Madrigal Opera contains no narrative or subject matter. It is a work composed for future writers and directors to create in and around Glass score. The work is composed as for a traditional madrigal, with six voices with violin and viola accompaniment. The clean and dynamic Glass score from 1979 represented a huge musical step for the composer as he moved toward a more expressive idiom which later produced works like Satyagraha and Koyaanisqatsi.

Piano is Philip Glass’ primary instrument (he also studied violin and flute); he composes at the keyboard. With its seemingly contradictory elements of lyricism and percussiveness, it is in some ways the ideal medium for Glass’ musical language. With its deep roots in tradition (spanning the Classical, Romantic and Modern eras), the instrument embodies the composer’s desire to merge new ideas with classic forms. It is perhaps via piano (and, by extension, keyboard) that performers and listeners can make the most direct and personal contact with Glass’ musical genius. Nicolas Horvath is an unusual artist with an unconventional résumé. He began his music studies at the Académie de Musique Prince Rainier III de Monaco, and at the age 16, he caught the attention of the American conductor Lawrence Foster who helped him to secure a three-year scholarship from the Princess Grace Foundation in order to further his studies. His mentors include a number of distinguished international pianists. Known for his boundary-less musical explorations, Horvath is an enthusiastic promoter of contemporary music. He has commissioned numerous works and collaborated with leading contemporary composers from around the world including Philip Glass.