The Special Membership Drive Edition of Classical Discoveries this Wednesday, October 19 (5:00 to 11:00am) will feature the world premiere broadcasts of a number of short works by Alan Hovhaness including:
Suite No. 1 for piano (Op. 9b) 
Divertimento for 4 clarinets (Op. 61) 
Haiku for the Full Moon for alto recorder and piano 
Suite for cello and piano (Op. 193a) [196?]
Dance of Black-Haired Mountain Storm for flute and 3 percussion (Op. 183a) 
Mysterious Horse Before the Gate for trombone and 5 percussion (Op. 205) 
Fantasy for cello and piano (Op. 277b) 
Thanks to OgreOgress for the opportunity to present these on the special Membership Drive Edition of Classical Discoveries and for providing a limited number of copies of each of the 2 Hovhaness Audio DVD's (which play for much longer than than your standard CD's) below. If you are interested in receiving these special premiums be sure to phone in early on Wednesday at 609-258-1033.
Music From Other Minds, San Francisco, will be airing the non-Mishima music from Philip Glass's Phaedra in addition to world premiere broadcasts of several Modern Love Waltz orchestrations by Robert Moran.
Listen live (2AM EST) at http://www.kalw.org/listen-live or visit http://rchrd.com/mfom the next day for a streaming broadcast on demand.
Most of the music for Philip Glass's 1984 ballet Phaedra can be heard in Paul Schrader's 1985 film Mishima. The soundtrack is scored for string orchestra, string quartet, percussion, guitar, harp and organ. The ballet contains five movements not used in the film and they are scored for string trio, percussion and guitar.
In 1977 Philip Glass offered his Modern Love Waltz to Robert Moran for The Waltz Project: a collection of short piano waltzes by 25 composers published by C.F. Peters. In the same year Moran, then director of Northwestern University's New Music Ensemble, requested permission from Glass to orchestrate the work for his ensemble. Glass agreed.
In 1977 Robert Moran composed a series of 2-measure melodic variations for a few specified instruments. From that time until 2010 he composed more and more instrumental parts, ending up with 35 of them. There is no score and performers have the freedom to choose which 2-measure fragment to play and when to play it. Philip Glass's only request is that each fragment be repeated an even number of times (2,4,6, etc.) rather than an odd number of times (3,5,7, etc.) over his piano part. The various instrumental parts can be combined to form ensembles anywhere from 2 to 36 players. The result is a modular work with almost limitless timbral and formal variation, similar to several of John Cage's compositions. This recording employs all of Moran's 35 parts and the 21 realizations are structured according to an ascending number of instruments grouped by type and color.
OgreOgress Recording: http://www.amazon.com/dp/B008H4RQX0