The concert is on Sunday, April 8 at 8:00pm in the Marshall Room in the Music Building at Boston University (855 Commonwealth Avenue).
The concert includes–in addition to the Cage–pre-existing pieces by Kyle Gann, Eve Beglarian, Richard Whalley, and Dai Fujikura (for toy piano and violin pizzicato–the violinist will be Peter Zazofsky). There are new pieces, which will be having their first performances, by Lyle Davidson, Pozzi Escot, Stephen Feigenbaum, Michael Finnissy, Philip Grange, John Heiss, Derek Hurst (with electronic sounds–i.e. on my boombox), Matthew McConnell, Matthew Mendez, Nico Muhly, Ketty Nez (for toy piano and piano–Ketty will be the pianist), Dave Smith, Jeremy Woodruff, William Zuckerman, and me (for clavichord and toy piano–the clavichord player will be Peter Sykes). (I’m pretty sure that’s everybody.) The pieces are all really good and all really different from each other.
I hope you can come to this (what can only be described as an) unusual concert.
Made shortly after the premiere performance, and a year before the electric microphone came into use. The two records are on different pages: record one is 
An absolutely fascinating audio document, 
On a personal note, I’ll mention the release of my own new CD, 
Katharine is a British-born composer, sound artist and writer, currently living about as far out West as you can get on Pender Island in BC, Canada. Prior to this “slightly alarming” (her words) change of direction she was Director of the Electronic Music Studios at Goldsmiths, University of London. She now supports the composing habit by freelance writing and some teaching. She’s composed instrumental music, music combining instruments or voices and digital media, and purely electronic work. Her music makes frequent use of documentary sound – conversation, city sounds, birds etc. – in a way that perhaps invites new appreciation both of the ‘real world’ and of the concert hall. Increasingly, she writes about music, in particular electroacoustic and electronic music. Her book of experimental writings on recent electronic music (of many kinds and approaches) entitled Sounding Art: Eight Literary Excursions through Electronic Music was published by Ashgate in 2004.
Ryan is a San Francisco-based composer and performer, most frequently combining the two in the “rock chamber ensemble” 
Why a String Quartet? What is it that has given it its exalted reputation and mystique? Why have so many composers regarded it as the perfect medium of expression, though it is perhaps the most demanding to write for? And why do distinguished artists often prefer to work as a team in a first class quartet rather than make bigger money as, say, orchestral leaders? Music means different things to different people: but for those to who music is an intellectual art, a balanced and reasoned statement of ideas, an impassioned argument, an intense but disciplined expression of emotion – the string quartet is perhaps the most satisfying medium of all.
Juan Hidalgo’s 
Who is 
Christopher Hopkins is an assistant professor of music composition at Iowa State University of Science and Technology, where he teaches courses in composition, music technology, sound synthesis and orchestration. He is director of the Lipa Festival of Contemporary Music. As a composer he works in both experimental and traditional forms, with special interests in electroacoustic music, innovative notations and instrumental techniques, and dialectics between historical and contemporary musical forms.
Katharina grew up in Zurich, playing piano and singing in choir through her teens. Her formal music studies began at Jazz School Zurich, but she quickly bailed to Boston and the Berklee College of Music for her BA. Jump again to Zurich, then over to the Royal Academy of Music in London for her MA, and finally (?…) hop back over to the States and Columbia for her DMA. Her works, electronic & acoustic, are often inspired and linked with the visual arts, theater and inquiries into perceptual and phenomenological issues.
Sebastian Currier has won the 2007 University of Louisville Grawemeyer Award for Music Composition for “Static,” a six-movement piece for flute, clarinet, violin, cello and piano.
Any musical work which has a long. complex, and– dare I say it? –troubled history — can’t help but raise a red flag. Is the artist wrestling with something alive and kicking, or is he or she merely tinkering? Lou Harrsion’s “gay opera” Young Caesar, which began as a 1969 commission from the group Encounters, was first staged as a puppet opera for vocalists and 5 instrumentalists. A subsequent version, for 11 instrumentalists, onstage singers, and full chorus, followed, and this one, performed by the Portland Gay Men’s Chorus in 1988, was roundly criticized, though the performers, some of whom were “coming out” for the first time in it, embraced the work wholeheartedly. A further revised version for the Lincoln Center Festival, to be directed by Mark Morris, and conducted by Dennis Russell Davies, fell through Yet Harrison ( 1917- 2003 ) persisted — “I’m going to get that work right before I die ” — and French Canadian conductor Nicole Paiement, who premiered “the final cut”, or Urtext, if you will, in San Francisco in mid-February was an avid midwife in the process. But what are we to make of the final product? Was it worth the wait, or is it too little and too late? A little bit of both, but more of the latter.