These are gritty, inventive and wonderfully assured works that blend American wit and sentiment with the fearless abrasiveness of European modernism — a combination that meshes more smoothly than you might imagine.

Katherine] Dowling returned for Anthony Cheung’s 2010 “Roundabouts,” virtuosic clouds of piano resonance, the concert’s emphasis on sound summarized in ringing haze.

Pressing beyond the standard tuning of the piano, Mr. Cheung made another investigation of sound at the Stone on Tuesday, when he appeared not as a composer but also as an instrumentalist and impresario…

Based on the many musical and operatic retellings of the Orpheus myth and particularly inspired by Beethoven’s Piano Concerto No. 4, Lyra starts with the harp strumming the same G major chord that opens the Fourth Concerto.

[Cheung's] multifaceted “Lyra” is inspired by the Orpheus myth, which is often said to be at the heart of Beethoven’s fourth concerto. The 20-minute work features subtly warped tuning in the wind section and a harp part that sometimes takes on the guise of lyrelike instruments from around the world.

Gleißende Gespinste entwarfen die fünf Musiker in einer wunderbar präzise einstudierten Interpretation. Zarte Verwebungen hörte man neben kräftiger Attacke

Cheung’s inward-looking fascination with silence and luminous, isolated sound in Roundabouts.

Born in 1982, Mr. Cheung is already an accomplished composer, pianist and, as the artistic director of the Talea Ensemble, advocate for new music. “Fog Mobiles,” heard here in the first performance of a version for chamber orchestra, evokes San Francisco, where he grew up, with its unending, varied symphony of foghorns, waves and wind…“Fog Mobiles” is a concerto of sorts, but it manages to do interesting things with the genre.

A riot of color was also the hallmark of “Centripedalocity,” by Anthony Cheung, Talea’s artistic director. Members of both ensembles [Talea Ensemble and Ensemble Linea] performed the work, which quotes Debussy, Ravel and Thelonious Monk in its three sections.

Das "Ensemble Modern" begann mit dem aus San Francisco stammenden Anthony Cheung (*1982) und dessen "Discrete Infinity", die sich unter anderem auf Wilhelm von Humboldts folgende Erkenntnis bezieht: "Sprache macht von endlichen Mitteln unendlichen Gebrauch