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Ten improvised duets recorded in June 2006 by Joe McPhee on pocket trumpet and alto saxophone and Montreal drummer and painter John Heward on drums, kalimba and percussion.
First recording of John Cage's Chess Pieces (1944), rediscovered in a painting and transcribed by Margaret Leng Tan, with her recording of Sonatas and Interludes and the first recording of Vittorio Rieti's Chess Serenade.
Two CDs of virtuoso piano fantasies and transcriptions on operas by Puccini, Bellini, Verdi, Debussy, Berg, Bussotti and Volans, played by their arranger Yvar Mikhashoff.
John Luther Adams's Strange and Sacred Noise, a nine-movement work for percussion quartet, in the composer-supervised first recording by Percussion Group Cincinnati, with a 60-minute interview with the composer.
All of Xenakis's chamber music for strings except the quartets, from Syrmos (1959) to the first recording of Ittidra (1996), played by Ensemble Resonanz under Johannes Kalitzke, with John Eckhardt on solo contrabass in Theraps.
Six chamber works by Frank Denyer from 1973-2001, including Out of the Shattered Shadows 1 and 2, Faint Traces, Music for Two Performers, Play and Passages, in composer-supervised performances by The Barton Workshop.
Chamber music by Mexican composer Hilda Paredes, 1998-2001, drawing on Mayan language and culture: works for string quartet, piano quintet, 21 musicians and vocal quartet, with the Arditti Quartet and Ensemble Modern.
First recording of all 44 Harmonies from Cage's Apartment House 1776, arranged for string quartet by Irvine Arditti and played by the Arditti Quartet, with Arditti's solo violin performance of Cheap Imitation.
Composer-supervised first recordings of Joël-François Durand's music on the four elements: La terre et le feu for oboe and ensemble, Les raisons des forces mouvantes for organ, La mesure des choses III and Athanor for orchestra.
Marilyn Nonken plays Morton Feldman's Triadic Memories, a single-movement solo piano work of almost 90 minutes, recorded in 2003 and available on two CDs and on DVD-Audio.
Two classic analog electronic works by Morton Subotnick, Sidewinder and Until Spring, in multi-channel surround sound, previously available only on LP, in the second volume of his electronic works.
Four films on John Cage by Frank Scheffer and Andrew Culver, gathered as From Zero: 19 Questions, Fourteen with the Ives Ensemble, Paying Attention and Overpopulation and Art with Ryoanji, plus extras.
Elliott Carter's Quintet for Piano and Strings, Quintet for Piano and Winds, Syringa, Tempo e Tempi and two miniatures, recorded under his supervision for his 95th birthday with Ursula Oppens, the Arditti Quartet and Ensemble Sospeso.
All of Christian Wolff's works for violin and piano: the first recording of Pebbles (1999) and two performances of Duo for Violinist and Pianist (1961), played by the Canadian duo Sabat/Clarke with the composer present.
Alain Bancquart's large-scale microtonal cycle on the myth of the Minotaur, on texts by Marie-Claire Bancquart, recorded at its world premiere of the complete version at Radio France on 27 May 2000.
Giacinto Scelsi's music for high winds, solo and duo pieces for clarinet, flute, piccolo and oboe written between 1953 and 1970, played by Carol Robinson, Clara Novakova and Cathy Milliken. Volume 3 of Mode's Scelsi Edition.
Two CDs of electroacoustic works composed on Xenakis's UPIC computer music system at Les Ateliers UPIC (now CCMIX) in Paris, by Xenakis, Estrada, Robindoré, Risset, Roads, Pape and others, mostly first recordings.
First volume of Mode's Luc Ferrari series: Chansons pour le corps, built on interviews with women recorded in the Jardin du Luxembourg, and the symphonic tale Et si tout entière maintenant for actress, tapes and orchestra.
Cellist Michael Bach plays J.S. Bach's Cello Suite No. 3 on the curved bow, with two works by Dieter Schnebel, Mit Diesen Händen with mezzo-soprano Mechthild Seitz and Fünf Inventionen, first in the Art of the Curved Bow series.
John Cage's Sonatas and Interludes for prepared piano played by Philipp Vandré, the first recording on a Steinway “O”-type baby grand, the piano Cage composed on, with corrections to discrepancies in the printed score.