Meredith Monk’s MEMORY GAME, as its title implies, is both a look back at a pivotal point in her storied career, and a richly layered portrait of how vocal music, under the guidance of an indefatigable master, can play with our expectations in poignant and compelling ways. Teaming up here with her renowned Vocal Ensemble (featuring Theo Bleckmann, Katie Geissinger and Allison Sniffin) and backed by the Bang on a Can All-Stars, Monk explores all-new arrangements of never-before-recorded selections from her award-winning sci-fi opera The Games, as well as new versions of several pieces originally released on Do You Be (1987) and Impermanence (2008). What emerges from MEMORY GAME is a suite of songs that flows with a remarkable narrative cohesion, stemming in large part from the composer’s willingness to revisit the past with an insatiably curious eye.

When composer Philip Glass started work on his solo Piano Etudes back in 1991, his goal was “to explore a variety of tempi, textures, and piano techniques,” but also, as he mentioned in a 2012 interview, to become “a better player.” Ever since, the Etudes have occupied a place of unrivaled prominence in modern music as a proving ground for up-and-coming, and established, classical pianists to test their mettle. It seems only fitting, then, that Vicky Chow should take up the challenge. For more than a decade, she has exerted her star presence with her standout work as part of the Bang on a Can All-Stars, while also teaming up with such composers as Michael Gordon, Tristan Perich, Jane Antonia Cornish and more to release a series of compelling, and at times even physically demanding, solo performances. She has also shared stages with Glass himself — experiences that have given her a more immediate and personal grasp of the composer's original intention.