For Your Listening Consideration

This week’s edition of For Your Consideration ushers in a curated selection of classical works that push the boundaries of convention. We examine Ólafur Arnalds’s ingenious integration of modern electronic techniques with classical motifs, the Labèque sisters’ immersive and multisensory presentation of Philip Glass’s Cocteau Trilogy, and Bruce Liu’s innovative reinterpretations of repertoire by Rameau, Ravel, and Alkan. Together, these albums exemplify a dynamic dialogue between heritage and modernity, offering a rich terrain for both critical analysis and personal reflection.

Ólafur Arnalds – Re:member
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Ólafur Arnalds, the Icelandic composer and multi-instrumentalist from Mosfellsbær, is a visionary force in contemporary music whose work deftly bridges classical traditions and modern electronic innovation. Transitioning from his early days in hardcore punk to a career celebrated for its elegant, meticulously crafted soundscapes, Arnalds has redefined genre boundaries with projects like his groundbreaking Stratus system—an innovation prominently featured on his album Re:member—that transforms simple piano gestures into intricate, evolving harmonies.

Re:member stands as a definitive statement in Arnalds’ body of work, exemplifying his unwavering commitment to crafting individual tracks that coalesce into a meticulously unified whole. By employing Stratus technology—where a primary piano’s notes activate harmonically interrelated responses from two supplementary pianos—Arnalds demonstrates a masterful command of innovation, using this technique not as a gimmick but as a sophisticated tool to explore new harmonic territories. This disciplined yet expansive approach echoes the refined collaborations with Nils Frahm, notably in the 2015 release Collaborative Works, and reinforces his authoritative stance on composition where structural integrity and creative exploration coexist seamlessly.

Phillip Glass - Katia & Marielle Labèque – Glass: Cocteau Trilogy
Listen on Spotify, Apple Music, YouTube.



Scent and sound intertwined in an unusual synthesis during the Labèque sisters’ recital of Philip Glass’s Cocteau Trilogy, where fragrances crafted by perfumer Francis Kurkdjian, paired with lighting by Mehdi Toutain-Lopez, accompanied the performance. The program featured Michael Riesman’s piano arrangements of Glass’s operatic adaptations of Jean Cocteau’s films, a trilogy of works from the 1990s that remain among the composer’s most evocative. Each opera engages with its source material in a distinct way: Orphée as a chamber opera, La Belle et la Bête as a live-synced cinematic experience with Glass’s setting of the original text, and Les Enfants Terribles as a dance opera propelled by a trio of pianos. The unmistakable influence of Glass’s Parisian studies with Nadia Boulanger (1964–66) lingers in these works, lending them an introspective, almost dreamlike French sensibility.

The Labèques, with their signature virtuosity, distilled roughly thirty minutes from each opera, preserving Glass’s shimmering textures and wistful lyricism. Each suite was introduced by an archival recording of Cocteau discussing his films, heightening the historical resonance, while the accompanying fragrances—each tailored to an opera—subtly filled the auditorium. Though undeniably atmospheric, the olfactory element felt more like a conceptual flourish than an essential layer of the music. Nevertheless, this was a concert of meticulous curation, immersing the audience in a multi-sensory reimagining of Glass’s cinematic dreamscapes.

Bruce Liu - Waves (Music by Rameau, Ravel, and Alkan)
Listen on Spotify, Apple Music, YouTube.



Bruce Liu’s Waves offers a compelling exploration of French keyboard repertoire, featuring works by Rameau, Ravel, and Alkan. His nuanced articulation in Rameau’s “Gavotte et six doubles” brings each variation to life with clarity and sensitivity, though some may find his approach slightly restrained in rhythmic flexibility. In Ravel’s Miroirs, Liu captures the shimmering, wave-like motion of “Une barque sur l’océan” with fluid elegance, while “Alborada del gracioso” showcases his precision and lightness, though some may prefer a darker, more robust interpretation.

A standout is Liu’s rendition of Alkan’s “Le festin d’Ésope” from Douze études dans tous les tons mineurs, Op. 39, a virtuosic set of twenty-five variations that he navigates with both technical brilliance and theatrical flair. His interpretation highlights the wit and dexterity of this underappreciated gem, offering a rare and thrilling performance. Waves ultimately stands as a testament to Liu’s artistry, bringing a fresh and distinctive perspective to these works, even if some of his choices may invite debate.