Nico Muhly first listened to Philip Glass’s Music in Twelve Parts on a discman in his freshman year of college, while riding the subway in New York. “One of the things I used to always struggle with with the masterpieces of classical minimal composition is the resistance, on the part of the composers, to suggest narratives,” the young composer wrote on his blog in 2008, describing the experience. Shirking Glass’s abstraction, Muhly instead imbued the landmark minimalist work with his own personal narrative; Music in Twelve Parts would forever evoke an early metropolitan journey. That Muhly encountered Glass’s music while riding the N train down Broadway is particularly appropriate. Glass has maintained a lifelong relationship to downtown New York, and Muhly himself has remained a steadfast Manhattanite even as many of his contemporaries have decamped to Brooklyn.