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Messiaen’s first batch of students, in the 1940s, included Pierre Boulez, who would become the de facto face of French serialism and modernist thought.

Later pieces like “Canto” saw ten Holt abandoning serialism, in a move he called “tonality after the death of tonality.”

An essay by Young in the accompanying booklet, though, lays out his thoughts on the limitations of serialism.

With its nods to Brahms’s voluptuous writing for clarinet, Schoenbergian serialism and Steve Reich’s jagged strings, the music reveled in Sorey’s classical influences.

It is both “an example of rampant serialism and a commentary on the phenomenon,” A.O.