Composer Philip Corner (b. 1933) is one of the greats of 20th- and 21st-century experimental music. Active since the late 1950s, he’s composed thousands of works exploring the intersection of the classical tradition, post–John Cage experimentalism, and the impulse to forge true creative collaboration between composer and performer.

From January 21 to February 18, Portland’s Extradition Ensemble will present five consecutive Saturday concerts of Corner’s music. Concert 2 of 5 presents pieces from the 1960s, 1970s, and 2000s.

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Lecture from Sunday Performance (1962) – Matt Hannafin (reader) + ensemble

Heraclitus 2 (2007) – Robert Blatt (guitar), Brandon Conway (guitar), Lee Elderton (soprano saxophone), Collin Oldham (cello), Reed Wallsmith (alto saxophone), and Shao Way Wu (bass)

Lesson from the East: Perfection Is Not Exactness (1960) – Lee Elderton (soprano saxophone), Collin Oldham (cello), and Reed Wallsmith (alto saxophone)

Just Another 12-Tone Piece (1975) – Lee Elderton (soprano saxophone), Matt Hannafin (vibraphone), Branic Howard (piano), Catherine Lee (oboe d’amore), Collin Oldham (cello), Caspar Sonnet (melodica), and Shao Way Wu (bass)

Sang-Teh (1960–61) – Robert Blatt (guitar), Matt Carlson (piano), Brandon Conway (guitar), Catherine Lee (oboe d’amore, English horn), Reed Wallsmith (alto saxophone), and Shao Way Wu (bass)