A Soldiers Plaything (1930) Michael Curtiz, Ben Lyon, Harry Langdon, Lotti Loder

The Man Who Mistook His Wife for a Hat is a chamber opera based on Oliver Sacks's book of the same name. A true story, it takes the form of a neurological case-study; Dr P, a professional singer, suffers from visual agnosia—an inability to recognize or make sense of what he sees—and the opera describes in simple, unpretentious dialogue two consultation sessions during which the other two characters, the neurologist (Dr S) and the patient's wife (Mrs P), by way of a sequence of tests and conversations, gradually penetrate the mystery of the symptoms.

Call it postminimalist, totalist, or maximalist, the orchestral music of Bang on a Can co-founder Michael Gordon is big, loud, frenzied, and assertive, jam-packed with stylistic references, dense with inventive orchestration, and overflowing with virtuoso activity. Dystopia, performed by David Robertson and the Los Angeles Philharmonic, is a kaleidoscopic portrait of the city of Los Angeles, created in collaboration with filmmaker Bill Morrison. This live recording of the work's premiere at the Walt Disney Concert Hall, January 12, 2008, captures the energy and spontaneity of the music, which at times is quite reminiscent of the hubbub of the Shrovetide Fair in Stravinsky's Petrushka, though one must imagine that the listening experience with the film was overwhelming. In contrast, Rewriting Beethoven's Seventh Symphony is not so much a wall of sound as a multi-layered gloss on its original material, an echo of Beethoven's music warped and reshaped through glissandi, microtones, clusters, montage, and other modern techniques.

Five Live is an EP released in 1993, featuring five (in some countries, where it is considered to be a reduced-length long-playing album, six) tracks, performed by George Michael, Queen, and Lisa Stansfield. "Somebody to Love" and "These Are the Days of Our Lives" were recorded at the Freddie Mercury Tribute Concert, held on 20 April 1992, at Wembley Stadium. All proceeds from the sale of the EP benefited the Mercury Phoenix Trust. Sales of the record were very strong throughout Europe, where it debuted at number one on the UK Singles Chart, and several European countries, either considered as a single, or charting on album charts as an extended play or an LP.