The unifying idea of the concerto provides a way to get a handle on György Ligeti's experimental spirit, for a concerto here represents several fundamentally different things. The Cello Concerto of 1966, right at the height of Ligeti's exuberantly fearless adventures in 1960s Germany, might almost be called an anti-concerto, with the cello doing its best to hang on the edge of silence. Sample the very first movement, both for the precision of cellist Christian Poltéra's work at the low end of the dynamic spectrum and for the ideally clean engineering work by the BIS label, operating in a variety of Norwegian venues and mastering them, well, masterfully. The Chamber Concerto for 13 Instruments and the Melodien are essentially concertos for orchestra, with distinctive roles for each of the instruments, while the five-movement Piano Concerto, completed in 1988, is a fine and technically demanding example of Ligeti's later pulse-based, polyrhythmic style.

Shaker Loops is a 1978 composition by American composer John Adams, originally written for string septet. The original "modular" score, published by Associated Music Publisher, has since been withdrawn and replaced by a 1983 string orchestra version. This version was first performed in April of that year at Alice Tully Hall, New York, by the American Composers Orchestra, conducted by Michael Tilson Thomas. The string orchestra version can be played either by a septet of soloists or by a string orchestra of any size, where the violins are divided into 3 parts throughout.