A sense of memory and resonance infuses this survey of Cristopher Cerrone’s recent sound work, much of it pulsing, static and overlapping. The most arresting work, I Will Learn To Love A Person, is dominated by the emotional vulnerability and innocence of Tao Lin’s poetry. Lindsay Kesselman’s voice soars, Timo Andres’s piano runs out of keyboard at one point then introduces a circus tune. Beethoven’s Ninth briefly rears its head, and it all devolves into pure ecstasy with clarinettist Mingzhe Wang frantically along for the ride.

Cerrone’s Double Happiness, in its new version for piano, percussion and electronics, strikes different notes. Inspired by a summer in Italy while a fellow at the Civitella Ranieri Foundation’s castle in Umbria, and premiered at the Marimba Festival in Samobor, Croatia, it takes its cue from the composer’s field recordings of the Italian countryside including church bells, train stations and rainstorms, ending in a warm and cosy ‘New Year’s Song’.

Both The Arching Path (2016) and Hoyt-Schermerhorn are carefully chiselled works of art that benefit from reading the rest of the story. The first was inspired by Sergio Musmeci’s elaborately sculpted bridge over the Basento in southern Italy, which Cerrone calls a ‘beautiful and hulking modernist mass’. The second was named after a subway station in Brooklyn in ‘tribute to the New York nightscape’.

A 1400-word essay by Jennifer Gersten, winner of the 2018 Rubin Institute Prize in Music Criticism, contextualises the four pieces by suggesting that they ‘propose a more sensuous approach to cartography, one whose contours account for how a place seeps into the mind’.