Extra Eclectic

"Synesthesia" is name for experiencing one of the five senses as another sense. For example, if you "hear" the color red as sounding a particular way, or conversely, "see" certain sounds as "red." Steve Seel has a sampling of contemporary classical works that describe different colors as music - including Lou Harrison's "Rhymes With Silver," the percussion work "Red" by Marc Mellits, and selections from the "Synesthesia Suite" by Andy Akiho. In the second hour, Steve features works from the cold climate countries of Scandinavia and the Baltic states, including Finland, Iceland, Norway, and Estonia.

Sometimes, what we all need more than anything is to slow down. It seems to be vibe that a lot of contemporary classical composers have picked up on, since if there's one prevailing atmosphere to the classical music of the 21st century in particular, it's contemplation. It's not all that way of course, but on this edition of Extra Eclectic, Steve puts a focus on the more reflective and slower-paced modern classical works - many of which just so happen to be quite moving.

It's the meaningful, the meaningless, and all points in between on this week's show. Steve brings us ruminations on philosophical and religious subjects, from Krzysztof Penderecki's "Polish Requiem" to a piece called "The Last Question" from composer Nicholas Britell. Plus, Normal Dello Joio's "Meditations on Ecclesiastes" explores the meaning of life itself.

The electric violin has come a long way since its days as a staple of progressive rock and jazz fusion, when it very much sounded electric. This week on Extra Eclectic, you'll hear an electric violin as the featured solo instrument in a new work by Nico Muhly, and you just might mistake it for a real acoustic instrument. Steve Seel also features music by Jennifer Higdon, Gabriel Yared, Steve Reich, and much more.

When you hear some of the selections on this week's show, you won't be surprised that their composers have received so much praise for their work. Jennifer Higdon has a devoted following and avid fanbase, and her work "blue cathedral" is always a gorgeous show stopper. We'll also hear a bouncy and infectious chamber music piece by Kenneth Fuchs, who's music has received four Grammy nominations and one Grammy award so far, as well as Jonny Greenwood's score to the film "There Will Be Blood," plus music by Sarah Kirkland Snider, Caleb Burhans, and more.

John Adams' early work "Shaker Loops" helped put him on the map - a piece referencing both the "shaking and trembling" of the worship practices of this American religious sect and the act of "looping" a musical phrase (usually by mechanical means, such as with a tape recorder) to create a repeating motif. Steve features Adams' seminal work as the centerpiece of an hour of works inspired by American folk traditions and musical idioms, such as Bryce Dessner's "Murder Ballads" and Carl Schimmel's "Roadshow for Otto." In the second hour, it's a roundup of contemplative pieces from Anna Thorvaldsdottir, Julia Kent, Michael Kurth and others.

This week Steve Seel features artists who whose careers are unique enough to make classification pretty tricky. Jazz pianists Keith Jarrett and Vijay Iyer show off some of their compositions for classical strings, Steve Tibbetts plays his impressionistic solo guitar music, and we'll also hear genre-hopping works by Claude Bolling, Terry Riley, and Caleb Burhans.

Composer Michael Kurth took up the bass in the fourth grade. One of his early inspirations was Donald "Duck" Dunn of Booker T. & The MGs, the Stax Records studio band that backed up Otis Redding, Wilson Pickett and Sam and Dave. Today, he's not only a double bassist with the Atlanta Symphony Orchestra, but a composer as well -- and Steve plays one of his compositions whose title was inspired by a piece of graffiti art he spied on the way to work. In the second hour, it's a survey of composers from non-Western countries, such as Syria (Kinan Azmeh and Dia Succari) and Georgia (Giya Kancheli).

The language and instruments of rock increasingly play a part in new classical music, to the point where some classically-trained musicians are making music that wouldn't be out of place at all on a rock record. And yet, the experience of such music lends itself not to the rock club, but to more classically-oriented spaces like theaters or concert halls. This week Steve plays some examples - from Caleb Burhans' achingly gorgeous "A Moment for Jason Molina" to music by Aidan O'Rourke, Wim Mertens, Howard Skempton and more.

It might surprise you that more than a few composers working today have a strong affinity for early music, dating from the Renaissance, Baroque, or even earlier. Why is that? Steve features music by Arvo Part -- a composer whose inspirations sometimes reach back as far as the middle ages -- as well as a piece by Michael Nyman written for the early music group Fretwork and the music of Philip Glass performed by the baroque group The King's Violins and countertenor Anthony Roth Costanzo.