W.M.P. Concert Hall As the New York Philharmonic loudly proclaimed one theme of the new classical music season last week, performing Stravinsky's "Rite of Spring" in anticipation of the work's 100th anniversary in May, Kimiko Ishizaka, a young German-born Japanese pianist, modestly sounded another on Thursday evening, performing the first book of Bach's "Well-Tempered Clavier" to a small audience at the W.M.P. Concert Hall on East 28th Street. New Yorkers are about to hear a lot of Bach on the piano. Emanuel Ax leads off next week, playing Bach's Concerto in D minor (BWV 1052) with the Philharmonic, soon to be followed by Minsoo Sohn and Angela Hewitt (both in the "Goldberg Variations") and Andras Schiff (in "Well-Tempered" Books 1 and 2). Ms. Ishizaka has presumably developed a certain following from her Open Goldberg Variations Web site (opengoldbergvariations.org), which offers a free download of the work. A gifted and obviously devoted Bachian, Ms. Ishizaka on Thursday performed the 24 preludes and fugues of Book 1 from memory and without major flaw. Early fears of a studentlike performance raised by a deliberate tempo in the C minor Prelude proved unfounded. Ms. Ishizaka kept things moving nicely and raised the energy level after intermission, occasionally rising to a touch of virtuosic flair, as in the A major Fugue, which she ended with a private little smile. Perhaps too private and too little. Ms. Ishizaka seemed more intent on communing with Bach (who can blame her?) than on communicating with listeners. She clearly has much to say, and she would do well to let more of it out. Bohemian National Hall The Talea Ensemble, one of New York's most dedicated and persuasive advocates for new music, played three American premieres for its first concert of the season on Friday at the Bohemian National Hall on the Upper East Side, run as a cultural mission of the Czech Republic. A representative of the hall announced at the start that she was especially pleased that the concert included the work of Ondrej Adamek, a young Czech composer. She has reason to be proud of Mr. Adamek, whose witty, well-constructed "Ça Tourne Ça Bloque" (2008) channels snippets of conversation in French and Japanese into the rhythmic grooves of whimsical, often mock-martial music. If Mr. Adamek's piece, while clever, felt as though it could easily have been tighter than its 16 minutes, structural looseness was more of a problem in Pierluigi Billone's "Dike Wall" (2012). Mr. Billone's scraping soundscape, heavy on metal brushed against metal, was more repetitive than rigorous, but it offered an impressive vehicle for the excellent percussionist Alex Lipowski. The Talea players, it should be said, are uniformly impressive - clear and responsive - regardless of the strength of the music. James Dillon's "New York Triptych" (2012), the third and final installment in a series of three-part pieces, featured a clangorous beginning that receded into a solemn, sensuous work dotted with jagged bursts. Recorded moments from Mr. Dillon's first two triptychs were incorporated almost unrecognizably into the instrumental textures, and in the final section a recording of Marcel Duchamp crept out, a haunting murmur. University Settlement Before a concert presented by the Festival of New Trumpet Music on Friday night, conversation outside the University Settlement on the Lower East Side turned to prodigiously gifted players who had died painfully young, promise unfulfilled: chiefly, Clifford Brown and Booker Little. Since founding the festival in 2003, the trumpeter Dave Douglas has fixed attention on artists who have continued to move the instrument and its repertory forward: veterans like Bill Dixon and Wadada Leo Smith; upstarts including Greg Kelley and Amir ElSaffar. Nate Wooley, a trumpeter who merits a spot on any list of instrumental mavericks, has figured in several festival seasons. Here, as part of the festival's 10th anniversary, he unveiled the latest iteration of "The Seven Storey Mountain," a continuing project in which he mixes radical playing techniques, amplification, recorded sounds and varying accompaniment to evoke notions of pilgrimage and ecstasy. Starting alone, Mr. Wooley rasped, pattered and quietly sang through a trumpet with no mouthpiece, over pealing electronic tones. Tilt Brass, an ensemble that upholds a new-music tradition of radical politics, joined him with somber staggered chords, by turns churchy and regal. Building ineffably toward a howling peak, the piece conveyed potent sensations of questing trajectory and philosophical intensity. Tilt opened with Dave Ballou's "for three trumpeters," in which simple, stately lines fused to render rich, pulsating overtones. To conclude, Tilt enlisted three saxophonists and the superb pianist Stephen Gosling for "De Volharding" ("Perseverance"), a 1972 post-Minimalist magnum opus by Louis Andriessen, given an exhilarating account in what was billed as its New York premiere. Bargemusic The gifted early-music duo Asteria - the tenor and lutenist Eric Redlinger and the soprano Sylvia Rhyne - returned to Bargemusic on Sunday afternoon with a concert entitled "The Body Departs - the Heart Remains With You." That is the opening line of the intense song by Antoine Busnoys that closed the first half. It was also an apt summary of the courtly sentiments on display throughout a program that ranged from anonymous songs to well-known ballads by Guillaume Dufay ("J'attandray tant" and "Se la face ay pale"), from the rich unison of "Quant la doulce jouvencelle" to Gilles Binchois's defiant "Pour Prison." Supplying apposite spoken introductions, Mr. Redlinger and Ms. Rhyne used the cleverly ordered music to tell the story of the knight Yvain (Ivanhoe), a star of the Arthurian romances that originated in the 12th century but took on new popularity in the 15th, when the songs in the program were written. The duo's self-presentation occasionally verged on the precious, with the Renaissance-style goblet for water and the sheer ribbon Mr. Redlinger used as a strap on his lute. But his lute playing was appealingly fresh and rough, and Ms. Rhyne sang with a clean, eloquent voice, subtle vibrato and a sure sense of diction. Even more important than her clear presentation of the words, though, was a pointing of their meaning. Her slight, bitter elongation of the "pl" sound in "plaisir" in the first line of Binchois's "Seule Esgarée" brought the song's expression of abandonment acutely to life.