The Kreutzer Quartet performs four 20th century pieces written for string quartet. The quartet, comprised of Peter Sheppard Skærved on violin, Mihailo Trandafilovski on violin, Morgan Goff on viola and Neil Heyde on cello, apply their talents to Stravinsky's 'Three Pieces for String Quartet' (1914), Lutoslawski's 'String Quartet' (1964), Ligeti's 'String Quartet No. 2' (1968) and Finnissy's 'Second String Quartet' (2007).

The famous Hungarian composer fills his pieces with skillful, fascinating rhythms that shifts accents and speeds. The breathtaking disorder and turbulence of the keys in "Desordre" shows us Ligeti's enthusiasm for central African music, which would become his signature.

Argentine cellist Sol Gabetta performs works by Elgar, Stravinsky, Wagner and Ligeti at the 2014 Easter Festival in Baden-Baden, conducted by Sir Simon Rattle.

Live performance of choreographer Kader Belarbi's interpretation of the classic fairy tale. The dancers of the Ballet du Capitole include Takafumi Watanabe as The Beast and Julie Loria as Beauty.

Concert and documentary featuring Canadian soprano Barbara Hannigan. Barabara sings while conducting the Mahler Chamber Orchestra at the Concert Hall of KKL in Lucerne in August 2014. The performance includes works by Rossini, Mozart, Ligeti and Fauré. The documentary 'I'm a Creative Animal', directed by Barbara Seiler, takes a look at the artist and her career.

In this detailed study Simha Arom takes a new and original approach to the understanding of the complex and sophisticated patterns of polyphony and polyrhythm that characterise African music. Considering in particular the harp, sanza, xylophone and percussion music of Central Africa, Simha Arom develops a a rigorous method for the analysis of the music and for the recording and deciphering of the many strands of polyphony and polyrhythm. Through a systematic breakdown of the many layers of apparently improvised rhythm he reveals the essential structure which underlies this rich and complex music. Inspired also by linguistic techniques, Professor Arom regards the music very much as a grammatical system.