"Ensembles that play only new music are plentiful these days, but soloists who play recitals devoted entirely to newly commissioned works are scarce enough to seem heroic or eccentric, or perhaps a bit of both. Guy Livingston, an American pianist who lives in Paris, has assembled a program of recent works that may be quirky enough to appeal to listeners who have doubts about modern musical language"Guy Livingston opened Solo Flights/ Keyboard Summit with Don't Panic: 60 seconds for piano, an incomparable one-man show culled from the pianist's collection of 1-minute works, on 14 February 2003. This is the brilliant new performance created by American pianist Guy Livingston to showcase the endless possibilities of contemporary music. Many of the pieces are amplified or for piano and tape. They use new techniques and range from modern-classical works through virtuosic-serialism to unsettling performance-art. All are premieres written for Livingston. Livingston presents the pieces in sets of 4 or 5 at a time, punctuated by anecdotes about the composers and the genesis of these works. The framework is theatrically exciting and musically innovative. Although one minute seems like an unbelievably short time, it actually offers the composers a good deal of scope. An entire atmosphere can be established (or destroyed) in 60 seconds. The program offers a wide-ranging sampler of new music styles from the most traditional classical up to cutting-edge avant-garde.―The New York Times
The record with Paweł Szymański's music performed by the well-known pianist Maciej Grzybowski is one of the first publications of the Polish Audiovisual Publishers released together with the EMI label. It opens the entire series of recordings of this outstanding composer and leading Polish postmodernist signed by PWA. The album is opened by the now famous Two Studies, one of the most recognizable pieces by Szymański, characteristic of his style, which defines a specific technique of surconventionalism (composer's definition), consisting in revealing only parts of the musical narrative, so that the listener must reconstruct the whole by imagination "ragged" rhythmic course.