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Pianist Alice Gi-Young Hwang will perform my work Still LIfe in Toccata Style for solo piano on a recital entitled “Sonatas and Toccatas”.
The performance is at 6PM on Friday April 19th at Paul Hall in the Juilliard School.
Ms. Hwang will also perform works by Godovsky, Ravel, Roy Harris and Chopin
I hope you can join me.
David Osenberg interviews me on my works and thoughts on composition along with performances of several of my compositions.
The program is Cadenza with David Osenberg and can be heard on WWFM 89.9 HDFM or at Saturday April 20th at 3PM.
The entire interview will be archived on the wwfm.org website and can be heard as a webcast.
Enjoy.
The realization of a long time dream: Simone Dinnerstein will premiere my Piano Concerto, entitled The Circle and the Child. Simone will be performing it with the Atlanta Symphony on October 17th and 19th 2013 with Miguel Harth-Bedoya conducting.
In 2009, shortly after performing and recording my 12 Variations on a Chorale by JS Bach, Simone Dinnerstein asked me to write her a concerto.
Born out of our mutual love of the music of Bach, the concerto was written always keeping in the forefront of my mind, Simone Dinnerstein’s pure tone, and sybil-like interpretations of Bach’s works.
The Circle and the Child travels through many landscapes of time, memory and emotions. The central movement has at its narrative core a Bach Chorale but weaves links youth, faith and love.
Atlanta Symphony October 2013
Here is a terrific review of the new Delos CD of my Vocal works in Gramophone records:
Gramophone – Colors of Feelings review – December 2012
Happy reading!
The Classical Recording Foundation is honoring me with the Composer of the Year award at their annual gala concert at Weill Recital Hall.
Elizabeth Futral and Margo Garrett will perform selections of my songs from the recent CD “Colors of Feelings.”
My dear friend and colleague Ken Noda will present the award to me.
It should be a very fun evening. Please come and celebrate with me!!
My new CD of vocal works is out. Susanna Phillips and Elizabeth Futral accompanied by Margo Garrett sing my vocal works in English and French.
Susanna Phillips sings “In Colors of Feelings” a set of 4 songs on the poems of Tennessean poet Wynelle Ann Carson. These songs were commissioned and performed by Susanna in 2009. Elizabeth Futral sings my cycle “Les Visages de L’Amour” (The Faces of Love), on various French poets. This set Elizabeth has been singing since 2008.
Both Susanna and Elizabeth join forces to sing “Nicolette et Aucassin,” my medieval Sungfable. Joining them for the narrations is the legendary actor Michael York.
The CD is available at ArkivMusic
Also available at Amazon and ITunes
A wonderful experience. My song “Parisian Evening” was included in two concerts given by Steven Blier and Michael Barrett of NYFOS both at Caramoor and at Merkin Hall in New York. Beautifully sung by Eugene Chan.
My song Parisian Evening will be performed on March 11th at Caramoor and March 13th at Merkin Hall as part of the
See NY TIMES ARTICLE: http://www.nytimes.com/2012/03/04/nyregion/american-music-at-caramoor-and-copland-house.html?_r=2
On November 16th, 2011, Susanna Phillips and Margo Garrett performed my song cycle “In Colors of Feelings” at the home of a dear friend and supporter, Cynthia Lilley.
The event was a huge success with generous supporters helping out in the funding for the upcoming recording of my songs.
I was deeply moved to feel all the love and commitment from the artists and the genuine warmth from the audience.
Susanna is now singing Musetta in La Bohème at the Metropolitan Opera.
Elizabeth Futral, who will be recording my French songs on the CD, is singing on Wednesday at Carnegie’s Zankel Hall in NY.
As I said to all at the soirée, for a composer, there can be no greater sense of joy then to hear one’s works performed with such love and artistry and responded to so genuinely by a public.
It is sad to realize that still in 2011, 93 years after his death, Debussy is still only dimly recognized for the truly radical ideas he put forth in music. At the fall of Tonality (ca. 1890′s) two paths opened up. The Second Viennese School, with its determination to jumble the surface of the music while maintaining the traditional linear developmental ideas of the late Romantics (like Brahms), became recognized as modern; the way of the future. It “sounded” new. Whereas the serialist were simply jumbling the letters of musical “words”, Debussy decided, like his symbolist twin in literature, the poet Mallarmé, to use the same musical “words” which had been being used before, but to distill away traditional syntax. It “sounded” more like traditional music but in fact was creating a radically new syntax and saying things in ways which had never been done before: Mosaics instead of lines of development. Discrete units juxtaposed into fanciful orders instead of logical trajectories grown from the tired old methods of the German Romantics.