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WITH the citywide American Mavericks celebration of home-grown artistic modernity behind us now, music lovers will most likely fall into two camps: some who wish the party never had to end, and others ready to soak up sounds of an earlier vintage. Anyone still hungry for fresh sounds can look to CUTTING EDGE CONCERTS, an annual new-music series hosted by the composer Victoria Bond. That's not to say that what you will hear during the first program lacks historical resonances. Rufus Muller, a tenor widely admired for his interpretations of Bach's music, joins the pianist Jenny Lin in Ms. Bond's ''Leopold Bloom's Homecoming.'' And N. Lincoln Hanks, whose piano work ''Monstre Sacre'' receives its premiere, has extensive experience in early-music vocal groups. Also appearing is the Danjam Orchestra, a jazz ensemble; the festival continues through April 30 . 7:30 p.m. Monday, Leonard Nimoy Thalia Theater at Symphony Space, 2537 Broadway, at 95th Street, (212) 864-5400, symphonyspace.org; $20, students and 65+ $15. [ABSTRACT FROM AUTHOR]

The Mostly Mozart Festival's secondary focus on Stravinsky this summer has been a hit, no doubt because the most frequently heard of his works -- the three early ballets, the various incarnations of ''L'Histoire du Soldat'' and ''Pulcinella'' -- have largely been bypassed in favor of worthy scores that are not programmed continuously through the season. The Symphony in C, in fact, was given two outings: Louis Langree and the orchestra dangled it as a coming attraction in a free preview concert a few days before the festival began, and Mr. Langree conducted it again on Friday and Saturday as the first half of a program that it shared with Nelson Freire's performance of the Beethoven Piano Concerto No. 4. The Saturday evening concert at Avery Fisher Hall had a thematically related postlude as well -- an installment of A Little Night Music, the festival's late-night series at the Stanley H. Kaplan Penthouse, in which the pianist Jenny Lin played Mozart and Stravinsky rarities. [ABSTRACT FROM PUBLISHER]

The article provides the history of the music piece for piano "24 Preludes and Fugues, Opus 87," composed by Russian composer Dmitri Shostakovich from 1950 to 1951. The piece is described as diverse, imaginative and evoking emotional expression. Many Russian colleagues of Shostakovich are said to have rejected the music because they perceive that it lacked Socialist quality. It took decades before the piece was recorded by Western pianists, including Marios Papadopoulos, Jenny Lin and David Jalbert.

Reviews several music releases. "Peer Gynt," produced by Edvard Grieg and performed by the Estonian National Symphony and conducted by Paavo Jarvi; "Preludes to a Revolution," performed by Jenny Lin; "Piano Sonatas and Other Works," performed by Richard Goode.