Heard together, the pieces intertwine and separate in fascinating patterns--two distinct pieces relating to each other in a sort of dialogue or even confrontation. But another way of hearing One9 and 108 is as something of a concerto for sho and orchestra, albeit with its own unique structure. For one thing, the first minute and a half of the performance is entirely void of instrumental sound--it's a far cry from the grand orchestral introductions of the Classical or Romantic concerto. Mode's engineering translates the ambience of the Cologne Philharmonie with great attention to even the smallest sound. We hear the rattling, squeaking, and scraping of chairs in the hall in the silent sections, a clear reminder that Cage's "silences" are never silent, nor are they meant to be. [2/21/2003]