Found Objects / Sound Objects—Marc-André Hamelin’s latest solo album and November’s Record of the Month—promises a rollercoaster ride through works by some of the twentieth century’s great musical mavericks. Built around The perilous night (John Cage’s first major piece for prepared piano, a piano which has had nuts, bolts, screws and similar inserted between its strings), the programme begins with Frank Zappa and ends in the only way imaginable: with a work by Hamelin himself, the fast and furious Hexensabbat. En route are contributions by John Oswald—whose eclectic Tip is an assemblage of fragments taken from a wide range of classical, jazz and pop favourites—Salvatore Martirano, Stefan Wolpe and Yehudi Wyner. Not for the faint-hearted.

A programme of choral anthems from The Choir of Trinity College Cambridge and Stephen Layton, its distinguished former Director of Music, takes its name from one of them—Kenneth Leighton’s Let all the world in every corner sing. A number of predominantly early twentieth-century favourites are on the menu, including Basil Harwood’s O how glorious is the kingdom (written in 1899), while Jonathan Dove’s Seek him that maketh the seven stars (1995) and Matthew Martin’s virtuosic St Albans triptych for solo organ (expertly dispatched by Harrison Cole from the console of Ely Cathedral where this album was recorded) provide textural contrast and the album’s most recent music.