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January Music

Music for Elizabeth Chapel

Aperitif for a Feast of Music

Music Like A Curve Of Gold

Everyone Sang : Vocal Music of David Conte

This two-disc set includes recordings of David Conte’s most recent vocal composition offerings from collections “American Death Ballads,” “Three Poems of Christina Rossetti,” “Love Songs,” “Everyone Sang,” “Lincoln,” “Sexton Songs,” and “Requiem Songs.” The album includes program notes by the composer.

Earth, Strike Up Your Music : Additional Orchestra Score

La Cenerentola : Fantasy for Piano Solo

Although based on music from Rossini's opera, this piano solo is influenced by other Romantic composers: Chopin, Schumann, Tchaikovsky, and most of all Franz Liszt, whose transcriptions of songs and operas served as an inspiration. Duration: 11:30

The Wind in the Willows

While studying at the American Academy in Rome from 1922 to 1925 on the first Damrosch Fellowship, Randall Thompson, fascinated with Kenneth Grahame’s delightful 1908 children’s story The Wind in the Willows, wrote two works based on chapters from it. One is a three-movement string quartet written under the influence of composers including Gian Francesco Malipiero and Alfredo Casella and the most recent European music he heard in Rome and at International Festivals he attended. Along with his five choral Odes of Horace, written at approximately the same time, this work provides us a significant glimpse of Thompson as a composer of chamber music during his formative creative years. Includes score and parts. Duration: 14:00

Upon This Summer's Day

Poet Emily Dickinson loved writing about nature and wrote many poems about flowers, three of which are celebrated in this song cycle. Flowers of various descriptions and personalities are included in this colorful collection, one of two song cycles in which composer Juliana Hall has set Dickinsinon's flower poems to music.

To Meet a Flower

Poet Emily Dickinson loved writing about nature and wrote many poems about flowers, three of which are celebrated in this song cycle. Flowers of various descriptions and personalities are included in this colorful collection, one of two song cycles in which composer Juliana Hall has set Dickinson’s flower poems to music.

Five Summer Songs on Poems of Emily Dickinson

The music in Perera's Five Summer Songs shows off both the singer's range and the pianist's ability. This version is handwritten, and the poems are by Emily Dickinson. Contents: 1. New Feet within My Garden Go2. South Winds Jostle Them3. I Know a Place4. To Make a Prairie5. The One that Could Repeat the Summer Day

Fantasypiece

The duet version of Fantasypiece for violoncello and double bass was composed in 2001, an arrangement for chamber orchestra was completed in 2002. The title has multiple meanings. The musical language, what I regard as free tonality, is one that I had always wanted to employ but never found occasion to use. By free, I mean employing unusual dissonances in a controlled manner within a tonal framework. The discourse of Fantasypiece involves the presentation of musical passages which set up a polemic between chromatically colored harmonies and tonal ones. The piece opens with a brooding theme featuring the tritone interval, followed by an interlude leading to a liricotheme. Chromatic, transposed variations on that interlude return throughout the piece to frustrate the attempts of increasingly tonal music to prevail over chromatically colored music. One even hears a cantando Neo-Classical sequence with running sixteenth notes a couple of times over the course of the work, as well as a set of ornate, Baroque-like variations on the lirico theme. Near the end of the piece, an extended recapitulation occurs which is utterly devoid of chromatically colored harmonies, making it seem as though that sort of music will prevail: a passionate, celebratory Tango ensues. All of this is to no avail for, in the end, the chromatic harmonies return and the piece ends on the ambiguous interval of the tritone with which it begins.

Three Songs on Poems by Lorri Neilsen Glenn

Commissioned by the Canadian Art Song Project for soprano Magali Simard-Galdès, winner of the Jeunesses Musicales Maureen Forrester Tour. This song cycle is, in part, a meditation on what it means to be a mortal being who exists in time. The first and last movements each present a different take on looking back, and the cycle moves backward in time from evening to mid-day to dawn. Images from each poem are woven into the music: the first movement is full of sewing imagery, so in places the pianist imitates the ebb and flow of a sewing machine's ostinato. The playful second movement depicts icicles melting, opening with their unpredictable drips. In the third movement, cloudsbloom.