From allmusic.com: "...The Concerto for Orchestra is really a five-movement symphony in arch-form, though it contains so much virtuoso writing to highlight every instrument in the orchestra that the term 'Concerto for Orchestra' was deemed most appropriate by Bartók. The Music for Strings, Percussion and Celesta is structured more closely to the four-movement Classical form, though again Bartók avoided naming it a symphony, perhaps to avoid limiting comparisons, and chose instead the abstract title it bears. Whatever his reasons were for denying them the designation of symphony, many listeners are drawn to these works because of their formal beauty and coherent structure, and the highly personal statements Bartók made in them are as profound as any of the greatest symphonies..." - Blair Sanderson
From allmusic.com: "Pierre Boulez's insightful interpretations of Varèse's music were important additions to a once meager catalog of recordings. The 1977 release of Ionisation, Arcana, and Amériques came as a revelation and redressed the false impressions other wooden and inept performances had left of these pieces. Boulez's recordings have vivid details, room for the music to breathe, and disciplined organization in which nothing is obscured. Of the works performed by the New York Philharmonic, Arcana is transparent and brutally direct, and Amériques is rich and filled with foreboding. Ionisation is spacious and reverberant, with all of the rhythmic details placed in high relief..." - Blair Sanderson
From cduniverse.com: "Pierre Boulez conducts Stravinsky's 'Le Sacre du Printemps' (The Rites of Spring), which was originally commissioned by Diaghilev for his Ballets Russes. The magnificent score premiered in Paris in 1913. The rhythmic complexities of 'Sacre' are notorious, but in the hands of a master of modern music and one of the world's top [orchestras], the London Symphony Orchestra, the elemental barbarism of the music is thrilling. This program also includes 'Symphonies D'Instrument A Vent' and a short interview with Pierre Boulez."
From cduniverse.com: "Cage constructed his 'waltzes' as a series of multi-colored triangles superimposed on the Hagstrom map of New York City. Wanting to celebrate Cage's memory, Don Gillespie decided to collect the sights and sounds from all the specified locations. This project took a year to complete. Its subject is unintentional music made by people, birds, planes, automobiles, police and fire sirens, and more. Deciding that 2 hours was an optimal length, composer Andrew Culver, was asked to determine the durations of the 147 locations. Using Cage's computerized I Ching software, Culver arrived at durations from 16 seconds to 3:44. The film is also an video time capsule of a New York that has long changed."