Although he lost the use of his dominant arm in a Soviet labor camp, Julian Stanczak was a leader of 1960s Op Art and long served as professor of painting at the Cleveland Institute of Art. His gift for creating “a sort of hovering aura that floats above the picture surface” evoked a strong response from Ms. Pajaro van de Stadt and Mr. Speltz, who gravitated to the music of three towering composers. Glass’s entrancing String Quartet No. 3, written for a film about Japanese author, filmmaker and ultranationalist Mishima, “weaves together subtle musical motifs to articulate incredibly vivid textures and powerful emotions.” Penderecki’s skittering scales, repeated notes and heart-wrenching melodies seem an uncanny aural version of a Stanczak painting. Ravel composed his exhilarating, other-worldly trio just before serving in the “war to end all wars,” and it has become one of the most beloved works in all of chamber music.