In the premiere episode of Echoes, Paths and Edges, Phillip Matty curates a unique selection of contemporary classical works that stretch the boundaries of sound and form. Featuring Sean Clancy's innovative use of contrapuntal techniques, Caroline Shaw's modern take on a traditional Scottish song, and Laurence Crane's meditative String Quartet No. 2, each piece invites listeners to experience music from new perspectives. From the ethereal organ tones of Ivan Vukosavljevic to Jennifer Higdon's lush orchestral textures, this episode explores how today's composers reinvent and reimagine musical landscapes. Tune in for a journey through resonant sound worlds and rediscovered traditions, with music by Caroline Shaw, Brett Dean, Alexander Goehr, and many others.

This week on Echoes, Paths, and Edges, Phillip Matty curates a selection of works that explore how music shapes our sense of space, memory, and emotion. Opening with Terra Invisus' Blur and Natasha Barrett's Presence / Nærvær, the episode delves into sonic depictions of place, from the rush of urban life to the intricate soundscape of Oslo’s Akershus Fortress. Samuel Reinhard’s For Piano and Shō introduces a meditative stillness, while Hania Rani’s Nostalgia offers a deeply personal reflection on memory and inspiration. Midway through, Steve Reich’s Violin Phase and Louis Andriessen’s Garden of Eros create a compelling contrast, with Reich’s minimalist patterns unfolding alongside Andriessen’s poetic tribute to his brother. Closing with Kaija Saariaho’s Nocturne, written in memory of Witold Lutosławski, the episode ends on a note of quiet beauty, highlighting music’s power to express what words cannot.

This week's episode of Echoes, Paths and Edges delved into music that reflects on the self and the past, weaving a tapestry of sound that spanned introspective minimalism, evocative folk traditions, and intricate modern textures.The program opened with David Lang's meditative This Was Written by Hand, followed by Toru Takemitsu's ethereal And Then I Knew 'Twas Wind. Thomas Ades' Asyla brought electrifying orchestral layers, while Missy Mazzoli's Dissolve, O My Heart offered a fresh perspective on Bach's legacy. Emily Linane's fading evoked haunting folk traditions, and Pierre Boulez's Sur Incises showcased bold, expansive textures.Each piece resonated with the episode's theme, connecting echoes of the past to the innovative threads of contemporary classical music.

This week on Echoes, Paths & Edges, Phillip Matty explores the transformative potential of minimalism and the fusion of acoustic instruments with electronic soundscapes. Featuring works by Brian Byrne, Howard Skempton, Molly Joyce, and more, the episode captures the essence of restraint, evolution, and the fluid boundaries of musical expression.

This week’s episode of Echoes, Paths, and Edges explored music that reflects on connection, healing, and the beauty of sound. From serene hymns to dreamlike meditations and raw emotional soundscapes, each piece captured profound moments of introspection and gratitude.The program began with Trio Mediæval’s tranquil Nu Solen Gar Ned, transitioning into Janet Beat’s innovative Dancing on Moonbeam, a pioneering work of electronic textures. Gabriel Jackson’s Star-Song shimmered with celestial beauty, while Howard Skempton’s In Tandem brought bold rhythms and harmonies. The evening also featured Anna Thorvaldsdottir’s evocative Ad Genua, Stef Conner’s reflective Hymn to a Head, and Ushio Torikai’s poignant Rest, composed in the wake of 9/11. Jamie Elless closed the program with Three Days, a deeply personal exploration of loneliness and collaboration. Each work resonated with the theme, offering glimpses of resilience and beauty in the face of adversity.