Now we have a Philip Glass Harpsichord Concerto. A what, you ask? Well, why not! After all, you can't get much farther away from driving, amplified works than by writing for the world's most delicate keyboard. The commission amounts to a modest challenge for Glass, who often rises to the occasion in this work (Tracks 7-9), the central movement of which is quite gorgeous. (The performance of the finale is touch and go, but gets the job done.) The other concertos, by John Rutter (Tracks 1-6) and Jean Francaix (Tracks 10-14), are high-spirited, even if they're not likely to inspire mad devotion.