Inside the historic Octagon Chapel in Norwich, the experience felt confining, echoing a numeric fascination. The architecture itself, with its octagonal design and windowpanes all designed in multiples of eight, was the perfect venue for Philip Glass’s work Music in Eight Parts. The performance moved the audience into a realm dominated by the intricate rhythms that extend a singular melodic phrase, played over and over in a meticulous manner.

However, the concert presented by the ensemble Apartment House was laborious in execution, notably slower than a previous recording made by American musicians five years prior. That interpretation, unveiled after the piece was lost for decades since its 1970 inception, showcased the music at a pace three times faster than this live rendition. Interpretation can vary greatly; one wonders what tempo Glass would prefer for his work.

Adding to the concert’s oddities, there were no program notes to guide the audience, likely contributing to a sense of confusion. The evening commenced with a performance of John Cage’s Harmonies, which features randomly selected chords and notes derived from 18th-century American hymns by William Billings and others. With the right context—Cage’s unique tribute to the American Revolution—the music’s purpose becomes clearer.

Further clarification was also needed regarding the new piece by Cassandra Miller, intriguingly titled Grace’s Amazing Imitation Apartment. The Canadian composer, now residing in London, is known for her compelling compositions, and this eight-minute work effectively captured attention. The piece featured a solo cellist, Anton Lukoszevieze, who navigated Dorian-mode harmonic patterns reminiscent of a piccolo’s pitch, accompanied by a piano that delivered bold chordal fanfares. However, some felt the piano line seemed incomplete, leaving its final intentions uncertain.

Audience members might have benefitted from additional context for Erik Satie’s three somnolent movements from Socrate, which were newly arranged for synthesizers, flutes, and strings. Satie famously wrote this piece while consuming only white foods, believing it would enhance the purity of his music. Such details would have provided an intriguing lens through which to interpret the weighty half-hour performance. ★★★☆☆ Festival continues until May 25.