Jason Victor Serinus

Prepare for one of those wild, hold-on-to-your-horses rides that will send minds and sound systems spinning (and horses bolting). Andrew Norman's award-winning, 47-minute orchestral work Play (2013), plays with musician and listener expectations simultaneously while proceeding on a course barely predictable from its opening salvos. Somewhat reflective of the worlds of rock and jazz, with a language all its own and ideas far more developed, dense, and unpredictable than all but the most experimental and far out excursions, Play's visceral and cerebral appeal reaches far beyond the confines of genres and settings.

Nominated for a 2017 Grammy Award for "Best Classical Compendium," ECM's Gesualdo pairs arrangements of the haunting music of Carlo Gesualdo da Venosa (1566–1613) with Gesualdo-inspired works by living composers Brett Dean (b. 1961) and Erkki-Sven Tüür (b. 1959). If at least one of those contemporary works, performed by Tõnu Kaljuste's justly famed Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra, is not exactly what you'd expect, the "compendium" as a whole is unfailingly beautiful and engaging.

On January 23, 2017, telecoms company Sprint acquired 33% of the Tidal music streaming service. According to the press release jointly issued by the two companies, the deal guarantees that Tidal, which now claims a catalog of over 42.5 million songs and 140,000 "high quality videos," will become available to Sprint's 45,000,000 retail customers, who will gain "unlimited access to exclusive artist content not available anywhere else."

How to sum up the smallest high-end showing ever at a 21st Century CES? While it seems likely that CES trade-show attendance in general was down just a bit this year from the 2016 high of 177,393, the official estimate of "more than 175,000 industry professionals, including 55,000 from outside the US" stands in sharp contrast to the scene on the upper floors of the Venetian Tower, where some hallways that had formerly been packed with what CES calls "high performance" exhibits and industry people were now dominated by tech-company exhibits and visitors.