The most unusual music heard in this city each season emanates from the Cliburn at the Modern series at the Modern Art Museum of Fort Worth. The series' season ended on Saturday afternoon and, as usual, there was music that virtually no one in the audience had heard before.The featured composer this time was Christopher Theofanidis, a native Texan now on the faculty at Yale. He was present to speak about, as well as listen to, his music. This aspect of the series is one of its most entertaining attributes, especially with Buddy Bray as the emcee, providing witty comments and putting the guest at ease.One pleasing characteristic of Theofanidis is his fondness for evocative titles. Rather than calling the first work on Saturday's program something like "Piano Quintet No. 1 in four movements: allegro, andante, scherzo and presto," he dubbed it Allegory of the Cave, with movements titled Shadows on the Wall, Prisoner, Realization and For We Are Free.As those familiar with the Western canon will probably guess, this refers to Plato and his discussion of the difficulty in apprehending reality. That's pretty deep stuff for a short composition (probably about 20 minutes total, though I didn't time it).It's for piano and string quartet, the performers Saturday being Bray (piano), Michael Shih and Adriana Voirin DeCosta (violins), Laura Bruton (viola) and Leda Larson (cello). The work is kind of spooky, with nervous string sounds, often aggressive piano and what seemed to me like an anguished finale that seemed out of sync with the For We Are Free description.The most powerful movement for me was Prisoner, which was a kind of modernistic dead march, sinister and irresistible.Allegory of the Cave was certainly an attention-getter, with impressions that lingered well after the final notes.Kaoru, played by flutists Jan Crisanti and Pam Adams, was an interesting experiment in contrasting two like instruments. There were some pleasant flutterings and joyous outbursts and, again, music in the movement Bitter, sharp that seemed at odds with its designation. Save for one outburst, it seemed rather placid. One had to admire the two soloists' stamina throughout.The final work of the afternoon, Visions and Miracles, with movements titled (ital) All joy wills eternity, Peace Love Light YOUMEONE and I add brilliance to the sun, was played by Shih, DeCosta, Bruton and Larson. Some rather simple melodic material, stringent and plaintive harmonies and some sad passages sans vibrato were some characteristics of a work that seemed basically outgoing but rather exotic.Theofanidis has been commissioned to compose the piece that all semifinalists will be required to play in the upcoming Cliburn Competition. Judging by Saturday's program, competitors and audiences are going to be hearing a highly original and ear-catching work.