Ray presided over a gamey piano program that also involved “tape” and video elements and extended techniques and instrument manipulations. Linda Bouchard’s “Gassho,” for instance, combined its piano part with a prerecorded haze of Tibetan Bowl tones, in a piece balancing furtive dissonant bursts and gentle tonal breezes that befitted the composer’s claims of channeling Zen and Schubert.

By Josef Woodard