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Sixtrum’s program – framed by two very different composers but just as much by the big wooden instruments that filled the staging ground – is pristine both In sight and sound.

The name given to TAK's program was “Holding”. Were we being cared for or were we simply stuck waiting? Was this a respite or a reserve? 

In their “Visionary Sounds” concert, the ensemble lets Eastman's Stay On It fall into abandon at times... but never without a plan. 

A program of works for soloists and small ensembles proves aurally and visually taxing, emotionally and intellectually exhausting, all in fairly enticing ways.

San Francisco’s Splinter Reeds, echoing the traditional wind quintet but eschews the non-reed instruments, makes its second ever New York City appearance, part of the Earle Brown Foundation’s Time:Spans Festival.  

It would be rash to make assumptions about the composer/performer collective based on a single program, but it was still not to notice a divergence from the past in the program of world premieres.

Within the quietude, Pierre Hantaï played beautifully, blues and reds slowly drifting across the waves of wood behind him. It was dramatic yet subtle, occupying the eyes while the mind floated with Bach's variations.