This program explores the idea of the familiar made strange, musical forms and materials refracted, reflected, and reassembled until they reveal something new. Andrew Norman's Light Screens takes its cue from Frank Lloyd Wright's stained glass "light screens," translating the architect's fractured geometric patterns and asymmetrical plays of light and shadow into sound. Caroline Shaw's Entr'acte grew directly out of a Haydn minuet, which Shaw described as suddenly pulling the listener "to the other side of Alice's looking glass," and her piece does exactly that, bending a Classical form through pizzicato haze, sudden silences, and sly harmonic sleight of hand until the original tune feels like a half-remembered dream. Beethoven's Quartet No. 9, Op. 59, No. 3, closes the program with its own kind of distortion: a slow introduction so harmonically unmoored that early listeners found it bewildering, before the music snaps into a driving, almost obsessive clarity. Together these works ask what happens when we look at tradition, architectural, Classical, Romantic, through a warped mirror, and find it looking back at us transformed.