In his opening remarks, Marco Blaauw admits that only latterly did he enjoy the extrovert tendencies of his instrument – and this recital “shows off” in exemplary fashion. Only Hanna Kulenty’s Brass No 1 is a truly abstract study: the first in a cycle of trumpet-centred pieces that puts the double-bell instrument as thoroughly and as scintillatingly through its paces as any music written from a non-jazz perspective.

Pierre Henry’s Carnet de Venise in his own fashion recreates the soundscape of the City of Doges, juxtaposed with the shifting harmonies of Monteverdi madrigals. His use of source material - like the sound of splashing fountains, children’s voices, the ringing of bells, the rubbing of mooring cables, that he collected on site (from Torcello to the Old Ghetto, with stops in San Marco or Giudecca) then manipulated and edited together - demonstrates the bold poetic language of this pioneer of musique concrète. A work that remained unpublished for 17 years has its first release ever to mark the reconstruction of the composer’s recording studio, which is now housed at Paris’ Musée de la musique.

Meredith Monk s MEMORY GAME, as its title implies, is both a look back at a pivotal point in her storied career, and a richly layered portrait of how vocal music, under the guidance of an indefatigable master, can play with our expectations in poignant and compelling ways. Teaming up here with her renowned Vocal Ensemble (featuring Theo Bleckmann, Katie Geissinger and Allison Sniffin) and backed by the Bang on a Can All-Stars, Monk explores all-new arrangements of never-before-recorded selections from her award-winning sci-fi opera The Games, as well as new versions of several pieces originally released on Do You Be (1987) and Impermanence (2008). What emerges from MEMORY GAME is a suite of songs that flows with a remarkable narrative cohesion, stemming in large part from the composer s willingness to revisit the past with an insatiably curious eye.

Among his contemporary countrymen, the Russian Alexander Mosolov certainly underwent one of the most individual developments. However unknown most of his compositions have remained both in the Soviet Union and abroad, a single piece has ensured that his name has stayed lastingly present the Iron Foundry from the ballet 'Steel' (1926/27). It clearly ran contrary to the demands of 'Socialist Realism' gradually becoming established in the post-revolutionary Soviet Union and finally declared the official dogma by the authorities in 1932. Whereas the state demanded a kind of music that was easy to receive and could be directly accepted by broad sections of the population, some young composers saw themselves facing the challenge of keeping pace with the international avant-garde and adding a separate Russian and Soviet form.

This is an enchanting CD, every item a sheer delight. Margaret Leng Tan worked with Cage in the last decade of his life and her earlier recordings (1/92; 7/95) show a special sympathy for the magical world of Cage's keyboard music. The second of her New Albion CDs included the piano solo version of The Seasons, and Cage was honest enough to admit to her that he had help from Virgil Thomson and Lou Harrison in making the orchestral version recorded here. The result is recognisably Cage at his most poetic, evoking each of the four seasons in lovely changing colours. There are two realisations of one of the last of what are called Cage's 'Number Pieces', Seventy-Four, written specially for the American Composers Orchestra a few months before his death in 1992. Several hearings have confirmed for me that this seamless garment of sustained sound in two overlapping parts is an immensely moving document from a unique human being at the very end of his life.

Released between 1991 and 2005, the selections in The Warner Recordings encapsulate the period when Pierre-Laurent Aimard was signed to Erato and Teldec, performing mostly 20th-century fare and some music from the 19th century. Aimard is famous for his contributions to the modernist catalog, and his performances of works by Pierre Boulez, Elliott Carter, György Ligeti, and Olivier Messiaen are regarded as scrupulously executed and authoritatively interpreted. Aimard also recorded early 20th century pieces by Charles Ives, Alban Berg, Maurice Ravel, and Claude Debussy, as well as Romantic masterpieces of Beethoven and Liszt. A pianist's pianist, Aimard is well-rounded in his repertoire and a true master of keyboard technique, yet he has received considerably less fanfare than many of his flashier colleagues. Yet connoisseurs of piano recordings know that Aimard is indispensible, especially for his special feeling for French music, and his recordings are important documents that serious students and newcomers should appreciate.

Admirers of Luciano Berio's Sequenzas have long wished for an affordable, high-quality collection of these masterpieces for solo instruments, considered by some to be the core works in the composer's oeuvre. Deutsche Grammophon released Ensemble InterContemporain's fabulous set in 1994, but its relatively high price and incompleteness make it a second choice when compared with the 2006 set on Naxos, which is both reasonably priced and complete, now that Sequenza XIV for cello appears on CD for the first time. Of course, bargaining over cost and completeness is one thing, but artistic quality is another important consideration: how does the Naxos edition fare in its performances and sound quality? While Ensemble InterContemporain's terrific compilation practically guarantees accuracy and authenticity – many of Berio's original musicians were involved in the project – the performances on this triple-disc set are quite comparable and wholly convincing in virtuosic skills, lustrous timbres, and splendid recording quality; only an adept student of these pieces could note any discrepancies, and those would be minor.

The Donaueschingen Festival (Donaueschinger Musiktage) is a festival for new music that takes place in Donaueschingen in south-western Germany every October. This prestigious festival was founded in 1921 and is one of the oldest festivals for contemporary music in the world. NEOS presents the highlights of the 2016 festival in high resolution and surround technique. All works on the two SACDs are live recordings of the world premieres recorded between 14 and 16 October 2016, performed by artists like the British soprano Juliet Fraser, the trombonist Mike Svoboda, renowned ensembles like the Arditti Quartet, Klangforum Wien, ensemble recherche and the SWR Symphonieorchester.

The Donaueschinger Musiktage is a festival for new music that takes place every October in the small town of Donaueschingen in south-western Germany. Founded in 1921, it is one of the oldest festivals for contemporary music in the world, and among the best-known and most prestigious. Donaueschinger Musiktage 2015 presents the German premiere of Georg Friedrich Haas's "Oktett", a work commissioned by Trombone Unit Hannover The world premiere of Johannes Boris Borowski's "Sérac" is a work commissioned by SWR; played bySinfonieorchester Baden-Baden und Freiburg, conducted by Peter Eötvös.

‘Moving Music: Sounds from the Rocking Chair’ is a curious collection of lower case drones, minimalism and microtonal music assembled by Moving Furniture Records.

A work with a name like this can only be unusual. The opus in question is a three-part solo piano epic, lasting a shade under four hours and of a complexity to match. Combine an all-night raga sequence with Bach's Art of Fugue and you're getting close. Is it worth the listen? Yes, if you want to give your heart and mind–not just your brain–a real workout. For all his outsize demands, Sorabji was a front-rank pianist, who understood technique as a physical end to spiritual means. There are stretches of manic complexity here, but also passages of real poetry: try the lengthy "Interludium primum" which opens Part 2, or many of the 81(!) variations which follow the magisterial "Passacaglia" in Part 3. It's music which cries out for transcendental virtuosity, and Geoffrey Douglas Madge gives it just that. He gave four performances over six years and this Chicago one from 1983 assumed mythic status among those who heard it. Remastered for CD release, it is awe-inspiring in its grasp of what's gone into this music: the audience clearly living it with the pianist every step of the way. Hear it for yourself, then why not run the marathon or climb Everest for relaxation?

One of the two records that Moondog recorded for Columbia Records. The album's a bit more "produced" than his rawer Prestige sessions, and it's got some weird additions, like vocals, on a number of cuts. But the root of the music is still pure Moondog – with lots of weird instruments, strange rhythms, and short compositions that are extremely haunting.

Performances from 1971 to 1997, featuring Tristan Fry in Zyklus, Harald Bojé and others in pieces for short-wave radios and electric instruments, and the composer's son Markus in the trumpet cycles In Freundschaft.

Two of Henning Christiansen’s tape works from the 1980’s, 'Peter der Große op. 174' (1986) and 'Gudbrandsdal op. 178' (1987), are now released for the first time by the Institute for Danish Sound Archaeology. Originally composed for different contexts – 'Peter der Große' as the score for a German radio feature and 'Gudbrandsdal' for a performance in collaboration with Joseph Beuys and later Bjørn Nørgaard – the two works stand out in Christansen’s extensive and many-faceted oeuvre by employing almost entirely electronic sounds.

A collection of pieces by members of the group Act of Finding, "a collective quartet dedicated to group improvisation." Includes: Ratso B. Harris To Dick Dickson – a humorous narrative from comic books, e.mail, and other periodicals found while the composer was moving delivered rhythmically over bass patterns from a thesaurus of scales and patterns, Tom Hamilton "Another Family Resemblance" – a charming song with reminiscences-, Bruce Arnold "Quiet Is The Movement of the Moon" – a pointillistic-like and often funny-sweet study in rhythms derived from the title…