Curiosity is the driving force behind music history, as this survey by the Lucerne Festival Contemporary Orchestra (LFCO) shows. With his Five Pieces for Orchestra, Op. 16, Arnold Schoenberg ventured into free atonality at the beginning of the 20th century, using an expressively condensed “alternation of colors, rhythms, and moods.” Composer-in-residence Lisa Streich similarly thinks in terms of sound: Ishjärta (“Ice-heart”), which was premiered last summer by the Berliner Philharmoniker, oscillates between warm, pulsating textures and icy, frozen harmonies. There will also be works by two central stars of the Lucerne Festival Academy. Wolfgang Rihm composed In-Schrift for St. Mark’s Basilica in Venice, attempting to “inscribe” the famous sacred space into his music through bells, choral sounds, and a darkly luminous instrumentation lacking high strings. Pierre Boulez’s Rituel in memoriam Bruno Maderna, one of his most-evocative scores, likewise conjures a sacred aura as eight orchestral groups develop a “ceremony of remembrance” to the regular pulse of the percussionists, according to Boulez.