Kate Soper and Sam Pluta’s The Understanding of All Things is something of a scaled-down version of Soper’s Ipsa Dixit of 2018. The latter was a two-disc set presenting Soper’s six-movement work of music, text, and theater for soprano, flute, percussion, and violin; this new release is a five-part suite consisting of three through-composed works for voice, piano, and electronics, and two improvised interludes for voice, piano, and electronics that she shares with Pluta. As she did with Ipsa Dixit, Soper chooses an eclectic set of texts to put to music or to narrate. The authors range from the Eleatic philosopher Parmenides to Irish philosopher George Berkeley to William Butler Yeats, Franz Kafka, and Soper’s teacher, composer Fred Lehrdahl. Supplementing the texts are Soper’s introductions and commentaries. The material’s eclecticism isn’t just a matter of the individual texts chosen but also of their settings; for example, on the long central piece Soper juxtaposes the surviving fragments of Parmenides’ poem with a poem by Yeats that she arranges as a sentimental song for voice and piano. Soper has a beautiful, crystalline voice whether speaking or singing or even being processed into fragments as it is on the opening track or on the first dialogue with Pluta; Pluta’s interventions are managed with a sensitivity that brings out the instrumental qualities of Soper’s voice while maintaining a keenly intelligent sense of structure.