Classical Music Discoveries

Trombonist Deb Scott makes her PARMA debut with her new Navona release PLAYING FAVORITES, accompanied by pianist Ron Petti. She performs a variety of her favorite pieces that appeal to her background in jazz and to her considerable technical skill. She writes: “What I love about each one is its ability to engage a diverse audience making for enjoyable and exciting musical moments.” The central piece on the album is Stephen Lias’s River Runner, written in response to a paddling trip he took with Scott through Big Bend National Park’s Santa Elena Canyon. Across the piece, Lias explores nature landscapes and the excitement of adventure, culminating in the visceral and kinetic third and final movement “Rock Slide.” The album includes many additional pieces, as well. Derek Bourgeois’ crowd-pleasing Trombone Concerto, written for Christian Lindberg, appeals to pop, jazz, and classical audiences. William Goldstein’s emotional Colloquy for Solo Trombone uses elements of jazz to explore opposing feelings of positivity and angst against a backdrop of Americana. Finally, the album closes with Variations on 'The Carnival of Venice' composed by Jean-Baptiste Arban. This arrangement by Donald Hunsberger was actually composed for trumpet and originally performed by Wynton Marsalis. Purchase now at: http://www.classicalsavings.com/store/p330/Playing_Favorites.html TRACK LISTING Deb Scott trombone Ron Petti piano Derek Bourgeois Trombone Concerto 01 Allegro 02 Adagio 03 Presto William Goldstein 04 Colloquy for Solo Trombone Stephen Lias River Runner 05 Lajitas 06 The Sentinel 07 Rock Slide Jean-Baptiste Arban 08 Variations on “The Carnival of Venice” arr. Hunsberger Purchase now at: http://www.classicalsavings.com/store/p330/Playing_Favorites.html

Siegfried, WWV 86C, is the third of four music dramas that constitute “The Ring of the Nibelung” by Richard Wagner. The opera premiered at Wagner’s Bayreuth Festival on August 16, 1876 as part of the complete performance of the Ring Cycle. This performance by the CMD German Opera Company of Berlin is conducted by Dominique Beaulieu and is available for purchase at ClassicalRecordings.co

Australian composer, music educator, and pianist Margaret Brandman presents her debut Navona release SENSATIONS, featuring several of her celebrated compositions, each one presenting a unique musical experience and sensation. The Moravian Philharmonic Orchestra skilfully performs the orchestral portion, opening with the joyful Love Brings Change (Adagio for Strings). Pianist Lucie Kaucká joins the orchestra for Lyric Fantasy, an emotional and accessible two-movement work with contrasting moods for piano and strings. In the two-movement Undulations, also for strings, Brandman portrays the elegant flowing movement of the ocean waves on Australia’s eastern seaboard. In the central orchestral piece, the programmatic three-movement Firestorm Symphony for full orchestra, Brandman effectively captures the shimmering heat, dangerous wind and approaching fire along with the sounds of the native birds, during the terrifying experience of Australian Blue Mountains’ bush fires which threatened her family home, the sorrowful aftermath and eventual renewal of the bush. The chamber music portion, featuring violinist Vit Mužík and pianist Lucie Kaucká, opens with Binna Burra Dreaming, which centres on the aboriginal Binna Burra world heritage site in Australia’s Gondwana rainforest. The Eastern Spinebill and the Sulphur-Crested Cockatoos Herald a Blue Mountains' Bush Fire, a vibrant reduction of the first movement of Firestorm Symphony, explores more closely the wildlife affected by the Blue Mountains’ bush fires. Mužík and Kaucká round out their contributions with the Latin-American-styled Jucaro Rhumba D’Amor. Also featured on the chamber music portion are piano pieces performed by Brandman herself. Following the impressionistic and lyrical piano solo Autumn Rhapsody, Brandman is joined by pianist Marcello Maio for Spirit Visions, a two-piano work inspired by the tone colours of the Sydney Town Hall organ. This piece, like the many others on this release, embodies the bright and jazzy style that makes Brandman’s music so distinctive. Order now at: http://www.classicalsavings.com/store/p335/Sensations.html TRACK LISTING 1 LOVE BRINGS CHANGE (Adagio for Strings) Moravian Philharmonic Orchestra | Petr Vronský conductor LYRIC FANTASY Moravian Philharmonic Orchestra | Petr Vronský conductor Lucie Kaucká, piano 2 I. Allegretto 3 II. Moderato UNDULATIONS Moravian Philharmonic Orchestra | Petr Vronský conductor 4 I. Adagio with sensitivity 5 II. Vigorously, Langorously FIRESTORM SYMPHONY Moravian Philharmonic Orchestra | Petr Vronský conductor 6 I. Firestorm Threatening 7 II. Now the Tears are Flowing 8 III. All the Trees are Growing 9 BINNA BURRA DREAMING Vít Mužík, violin; Lucie Kaucká, piano 10 THE EASTERN SPINEBILL AND THE SULPHUR-CRESTED COCKATOOS HERALD A BLUE MOUNTAINS BUSH FIRE Vít Mužík, violin; Lucie Kaucká, piano 11 AUTUMN RHAPSODY Margaret Brandman, piano 12 JUCARO RHUMBA D’AMOR Vít Mužík, violin; Lucie Kaucká, piano 13 SPIRIT VISIONS Margaret Brandman, piano 1; Marcello Maio, piano 2 Order now at: http://www.classicalsavings.com/store/p335/Sensations.html

After a notable success in many areas of Europe, young 11-year old Mozart, was commissioned to compose a piece for the Benedictine University in his hometown of Salzburg.  Mozart’s father, Leopold, was a notable name at the university, as many of his pupils were enrolled in the university high school. Theater played a large role in the curriculum in the high school. Mozart’s first encounter with the university was at the age of 5 when he appeared as an extra in a Latin drama.  Though Mozart was often involved with the university, he was never enrolled as a student. “Apollo and Hyacinthus” was part of a much larger 5-part work, which has continually caused a debate as to whether this work can be considered Mozart’s first operatic work.  Unlike the earlier “Obligation to the First Commandment” this work does contain all the components of a true opera, including a chorus.  However, also like “Obligation,” young Mozart was not the sole composer of the entire work which was worked on by several students.  Also, like “Obligation,” only Mozart’s contribution to this production has survived through the years. Also, worthy of note, this opera was never cataloged by Leopold until after Mozart’s death, when his sister Marianne, entered the work into Leopold’s catalog of his son’s early works and gave the work a name. This opera was performed only once during Mozart’s lifetime. This performance by the CMD Philharmonic and Chorus is conducted by Dominique Beaulieu and is available now at ClassicalRecordings.co

Navona Records welcomes Cappella Clausura, directed by Amelia LeClair, to the family with their new release of the choral works of Hilary Tann, entitled EXULTET TERRA. For the first half of the album, LeClair and Tann juxtapose Tann’s works for women’s voices, a cappella, with pieces by Hildegard von Bingen, in soaring arrangements by LeClair. The second half is the Exultet Terra suite of five movements for double choir and double reed quintet of English horn, oboes, and bassoons. Tann uses a double choir to provide occasional antiphonal effects, and chooses the double reeds for their “earth-like combination, since reeds are like grasses.” Tann is known for taking inspiration from nature in her works. Tann cites Hildegard von Bingen, recognized as one of the first female composers, as a special influence on these compositions: the responsory O Deus is from von Bingen’s medieval opera Ordo Virtutum; the chant begins with two consecutive fifths, rising immediately to the 9th of the mode. Such leaps were unheard of in that era, and in chant repertoire in general. Tann quotes that first phrase of O Deus in some form in all works here but The Moor. In addition to paying homage to one of the first female composers, Tann sets texts by Anne Bradstreet, widely considered North America’s first published female poet, for both Contemplations (8, 9) and Contemplations (21, 22). Tann follows a theme of setting texts by poets of her native Wales. The second track, The Moor, is a setting of a poem by Welsh poet R. S. Thomas, along with phrases from the Bible. The Welsh hymn Rheidol by Ieuan Gwyllt is echoed as a coda to the piece. Exultet Terra, translated as “Let the Earth Be Glad,” allowed Tann to set her favorite biblical verses and combine them with three favorite poems by the Welsh metaphysical poet and Anglican priest, George Herbert (1593-1633). This combination of Tann’s drawing inspiration from old texts to create these ethereal choral works and LeClair’s unique arrangements and passionate interpretations, makes Amelia LeClair & Hilary Tann’s collaboration supremely beautiful and unique. Purchase now at: http://www.classicalsavings.com/store/p322/Exultet_Terra.html TRACK LISTING Cappella Clausura | Amelia LeClair Director 01 O DEUS (FROM ORDO VIRTUTUM) Hildegard von Bingen A cappella, women 02 THE MOOR Hilary Tann A cappella, women 03 CONTEMPLATIONS 8,9 Hilary Tann A cappella, women 04 CONTEMPLATIONS 21,22 Hilary Tann A cappella, women 05 REX NOSTER PROMPTUS EST Hildegard von Bingen arr. Amelia LeClair A cappella, men & women; Elijah Blaisdell bass EXULTET TERRA Hilary Tann 06 I. EXULTET TERRA chorus & reeds, soli: Fausto Miro tenor Eric Perry tenor Janet Stone soprano Elise Groves soprano 07 II. TRIO OF DESCENT Peggy Pearson oboe Jennifer Slowik oboe Barbara Lafitte English horn 08 III. IN SANCTIS EIUS chorus; Peggy Pearson oboe 09 IV. TRIO OF ASCENT Barbara Lafitte English horn Stephanie Busby bassoon Sally Merriman bassoon 10 V. IUBILATE DOMINO chorus & reeds Purchase now at: http://www.classicalsavings.com/store/p322/Exultet_Terra.html

Symphony No. 1 in F minor, Op. 10, was composed by Dmitri Shostakovich in 1924-1925 for his graduation piece at the Petrograd Conservatory.  Dmitri was 19 years old at time of completion. The work was first performed by the Leningrad Philharmonic and conducted by Nikolai Malko.  The premiere concert was held on May 12, 1926. This work is said, by many musicologists, to be heavily influenced by Stravinsky’s “Petroushka.”  True, some elements, like the solo trumpet in the first movement are definitely reminiscent of “Petroushka” but this is probably more reminiscent of the Russian vaudeville where Dmitri worked as a pianist and also as a cinema pianist. To support this conclusion, Dmitri’s aunt, after hearing the performance of the symphony, said she recognized many of the melodies from Dmitri’s younger days as he would compose original melodies while playing the piano. The symphony was a tremendous success at its premiere and it is still considered as one of Shostakovich’s finest works. While the premiere concert was not recorded, Melodiya did record the symphony the following day on May 13, 1926.  However, the USSR Ministry of Culture only allowed the first movement of the symphony to be released as a recording. Since then, the original tapes have been kept in the Melodiya vaults and later in a private residence of a Melodiya producer eager to save this never-before-heard recording. Last year the recording was given to Classical Music Discoveries to restore to today’s digital standards. Now, we are very pleased to present this digitally restored long-lost premiere recording of Shostakovich’s Symphony No. 1 in F minor, Op. 10 as performed by the Leningrad Philharmonic under the direction of Nikolai Malko.  This recording is available now in our store at ClassicalRecordings.co  

Before Wolfgang Amadeus Mozart wrote his first complete opera, Bastiene and Bastienne, even a truly gifted child prodigy needed a little help in learning to compose in the very demanding opera genre. This week we rewind the clock a bit to when the young Mozart was 11-years old. Mozart was commissioned by the Archbishop of Salzburg to compose his first sacred musical play called The Obligation of the First and Foremost Commandment. The opera was composed in 1767 with the help from two tutors: Michael Hayden and Anton Adlgasser. The libretto, according to the title page, is attributed to J.A.W., which is generally attributed to Ignatz Anton von Weber. This opera is in 3 parts. Part 1 was composed by the 11-year old Mozart, Parts 2 and Part 3 were composed by Mozart’s tutors. Only Mozart’s Part 1 has survived the years since 1767. It is very possible that Mozart’s tutors did not want their contributions to be overshadowed by Mozart, a major problem which all of Mozart’s contemporaries would have to contend with, so they pulled their contributions to the opera to avoid musical embarrassment. The performances were predominantly in Salzburg in St. Peter’s Cathedral. The opera includes many recitatives for all the characters and each character also sings one to three arias. The main characters of the opera are 2 tenors, a Zealous Christian and Spirit of Christianity and 3 sopranos, Divine Justice, Divine Mercy and Worldliness. The opera does not have a chorus. Part 1 of the opera was first performed on March 12, 1767 in the Knight’s Hall of the Palace of the Archbishop in Salzburg. This performance is by the CMD Philharmonic and Chorus of Paris and is conducted by Dominique Beaulieu. The recording is available at ClassicalRecordings.co

Sound and space are two elements that emerge at the heart of Jane O’Leary’s THE PASSING SOUND OF FOREVER. The collection showcases O’Leary’s compositional gifts through a variety of her chamber compositions. O’Leary’s string writing soars in THE PASSING SOUND OF FOREVER, and demonstrates her remarkable sensitivity to the instruments’ sonic palette and expressive potential. Every color, from ethereal natural harmonics to frenetic bowing, is at O’Leary’s disposal, and is exploited beautifully to produce evocative and compelling soundscapes. O’Leary is imaginative and creative in her string writing, resonating the instruments’ strings in a wide variety of ways. Harmonics and arpeggiations create vast open spaces. In the case of A Winter Sketchbook, violin sounds are integrated with those of the alto flute, matching colors and creating new blends of sound. A Winter Sketchbook resonates profoundly as it casts the indelible image of deep winter. THE PASSING SOUND OF FOREVER’s title track is composed for string quartet, which makes it a shining and exemplary representation of O’Leary’s expressive string writing. The Passing Sound of Forever, originating from a motif found in a Beethoven quartet, plays with fragmentary gestures which emerge and disappear, echo and reflect. The work is filled with a deep yearning, which is communicated by the accumulated gestures and sounds of the quartet’s four string instruments. The Passing Sound of Forever epitomizes O’Leary’s unique ability to evoke vivid emotions from the simplest aspects of string instruments’ sound. Not every work on THE PASSING SOUND OF FOREVER features strings, but all seem to engage with the same themes of space and sound. O’Leary’s clarinet and piano duo Murmurs and Echoes, for example, creates the sense that its two instruments are communicating across great time and distance, most notably so in its last movement. When their respective gestures mirror one another’s, they do so with the distortion of an echo crossing a vast space. In this way, Murmurs and Echoes reminds of A Winter Sketchbook, as both works use modest forces to generate a surprisingly resonant musical space. Purchase now at: http://www.classicalsavings.com/store/p321/The_Passing_Sound_of_Forever.html TRACK INFO 01 A WAY THROUGH (2013) Concorde | Madeleine Staunton alto flute Paul Roe bass clarinet Dermot Dunne accordion 02 NO. 19 (2012) Elaine Clark violin MURMURS AND ECHOES (2015) Paul Roe clarinet David Bremner piano 03 I. 04 II. 05 III. 06 IV. 07 V. A WINTER SKETCHBOOK (2015) Concorde | Madeleine Staunton alto flute Elaine Clark violin 08 I. 09 III. 10 ...FROM HAND TO HAND... (2011) Andreja Malir concert harp Martin Johnson cello THE PASSING SOUND OF FOREVER... (2015) ConTempo Quartet | Bogdan Sofei violin I Ingrid Nicola violin II Andreea Banciu viola Adrian Mantu cello 11 I. 12 II. 13 III. Purchase now at: http://www.classicalsavings.com/store/p321/The_Passing_Sound_of_Forever.html

THE STOLEN CHILD CHORAL WORKS OF SCOTT PERKINS In THE STOLEN CHILD, Scott Perkins builds vast and stunning worlds out of a handful of voices. Vibrant, facile, and confident, Perkins’ choir writing is state-of-the-art and makes a modern musical statement while retaining a clear attachment to choral music’s longstanding tradition. To this end, Perkins’ compositions seem to balance the fluid and direct expression of late Renaissance a cappella masterpieces, while also possessing a decidedly contemporary approach to timbre and texture. Though the classic beauty of Perkins’ music might strike the listener most immediately, the multi-movement works featured on THE STOLEN CHILD come to life thanks to Perkins’ inventive use of vocal color and sound. For example, at the end of “Whereto answering, the sea,” the final movement of A Word Out of The Sea, Perkins builds accompanying material out of the distinct sound of the letter ‘s’, setting it specifically across the ensemble to produce a clearly rhythmic effect. The entire album is peppered with similar devices, all of which prove Perkins’ masterful command of the ensemble’s density and layering. Tracking Perkins’ exquisite choral techniques should not distract from the overall splendor of the three compositions featured on THE STOLEN CHILD. Each work is a world unto itself, activated by Perkins’ neo-modal language and superlative instincts for form. The album’s title track probably covers the most expressive ground, though A Word Out of The Sea and The World Of Dream are also undeniably strong compositions. The Stolen Child, however, excels in painting a diversity of sonic images, using only the human voice. More sullen in tone than the other two works on the disc, The Stolen Child narrates a dark journey made more haunting by the irreproachable beauty of its telling. Also a stellar element in THE STOLEN CHILD is Michigan-based vocal ensemble Audivi’s performance, which is both moving and immaculate. Although Perkins’ compositional style does not fall far from the a cappella tradition of Monteverdi or Gesualdo, Audivi responds to the challenge of these works’ intricate textures, delicate sonorities, and shifting, expressive colors with a resounding, unqualified triumph. Purchase now at: http://www.classicalsavings.com/store/p331/The_Stolen_Child.html TRACK INFO Audivi | Noah Horn artistic director Scott Perkins conductor Arianne Abela, Sarah Brailey, Jessica Petrus sopranos Eric S. Brenner, Tim Keeler, Timothy Parsons altos Noah Horn, Tyler Ray, Robert Strebendt tenors Glenn Miller, Dan Moore, Jonathan Woody basses THE STOLEN CHILD Tyler Ray tenor Dan Moore baritone 01 PROLOGUE: THE STOLEN CHILD 02 TO A CHILD DANCING IN THE WIND I 03 TO A CHILD DANCING IN THE WIND II 04 A MEMORY OF YOUTH 05 WHEN YOU ARE OLD 06 EPILOGUE: THE STOLEN CHILD A WORD OUT OF THE SEA Tim Keeler tenor 07 OUT OF THE CRADLE ENDLESSLY ROCKING 08 ONCE PAUMANOK 09 TILL OF A SUDDEN 10 DEMON OR BIRD! 11 WHERETO ANSWERING, THE SEA THE WORLD OF DREAM 12 THE WORLD OF DREAM 13 A TALE 14 THE UNFINISHED DREAM 15 NIGHTFALL 16 LULLABY

Willa Webber sings "Take a Breath" Available now on Amazon and Itunes.

The Krakower Group and Sony Classical proudly announces the release of the “Mozart in the Jungle Season 3” Soundtrack. The album features original performances by soprano Ana Maria Martinez and beloved classical artists including Joshua Bell, Placido Domingo and Yo-Yo Ma. This album is available now at ClassicalRecordings.co Track Listing: Delibes: Les Filles de Cadix Mozart: Papagena from The Magic Flute Dvorak: Slavonic Dances, Op. 72 Mazzoli: Impromptu Mozart: La ci darem la mano from Don Giovanni Schubert: Die jung Nonne, D. 828 Beethoven: March from Act 1 of Fidelio, Op. 72 Mozart: Oboe Concerto in D Major, K. 314: Allegro aperto Villa-Lobos: A lenda do caboclo Muhly: Amy Fisher Bizet: Chanson boheme from Carmen Sibelius: Symphony No. 5 in E-flat Major, Op. 82: Allegro molto

Most boys, at the age of 12, are more interested in sports, computers and video games in today’s world. However, when Wolfgang Amadeus Mozart was 12 he aspired to greater things, like composing his first Mass, Mass in C minor heard in a previous broadcast, and also composing his first complete opera, “Bastien and Bastienne.” “Bastien and Bastienne” is a one-act song-play or singspiel which is a sub-genre of opera. This comic opera was composed in 1768 and was allegedly commissioned by the Viennese physician Dr. Franz Mesmer. The premier took place in Mesmer’s garden theater and was not performed again until 1890 in Berlin. You will notice that the overture uses the same opening theme as Beethoven’s Symphony number 3. It is doubtful that Beethoven was familiar with this unpublished work. A more likely explanation is that both composers took the theme from another unknown source, possibly an Austrian or German piece of folk music. The opera opens in a pastoral village. The time is indeterminate. Bastienne, a shepherdess, fears that her "dearest friend", Bastien, has forsaken her for another pretty face, and decides to go into the pasture to be comforted by her flock of lambs. Before she can leave, however, she runs into Colas, the village soothsayer. Bastienne requests the help of his magical powers to help win back her Bastien. Colas knows all about the problem, and comforts her with the knowledge that Bastien has not abandoned her, rather, he's merely been distracted lately by 'the lady of the manor'. His advice is to act coldly towards Bastien, which will make him come running back. Bastien is heard approaching, so Bastienne hides herself. Bastien swaggers in, proclaiming how much he loves Bastienne. Colas informs him that Bastienne has a new lover. Bastien is shocked and asks the magician for help. Colas opens his book of spells and recites a nonsense aria filled with random syllables and Latin quotations. Colas declares the spell a success and that Bastienne is in love with Bastien once more. Bastienne, however, decides to keep up the game a bit longer and spurns Bastien with great vehemence. Bastien threatens suicide, which Bastienne merely shrugs off. Finally, the two decide that they have gone far enough and agree to reconcile. Colas joins them as they all sing a final trio in praise of the magician. This opera is performed by the CMD Philharmonic of Paris and is conducted by Dominique Beaulieu. This rarely heard opera is available now at ClassicalRecordings.co

Free shipping on all orders of $10 or more at ClassicalRecordings.co for the entire month of February. The month of February is a major month for the producers of Classical Music Discoveries as Ken and Sandy celebrate their 42nd wedding anniversary. As part of their month-long celebration, ClassicalRecordings.co is now offering free shipping on all orders of $10 or more for the entire month of February. To receive your free shipping on your order, just use the code FREESHIP at checkout. Choose from hundreds of titles from Mozart, Tchaikovsky, Wagner, Verdi and labels like CMD Recordings, Parma Recordings, Sony Classical and much more. Again, use the code FREESHIP, no spaces, at checkout to receive free shipping on your CD orders of $10 or more at ClassicalRecordings.co today! http://www.ClassicalRecordings.co #podcast #classicalmusicdiscoveries #classicalrecordings

Yuriy Bekker, violinist on Navona Records release TWENTIETH CENTURY DUOS, is joined by renowned pianist Andrew Armstrong in some of the most beautiful and rarely-performed works of the twentieth century by Jewish composers Erich Korngold and Aaron Copland. Bekker says of the album, “The idea for this project finally came to fruition with the help of the rare 1686 Ex-Nachez Stradivarius violin. This is the first sound recording of this violin and I believe these particular selections by Korngold and Copland highlight its most magical qualities.” Erich Korngold’s Much Ado About Nothing Suite (1921) for violin and piano, contains moments of dialog and synchrony between the leading violin and accompanying piano. Through interplay of the piano and violin, it is obvious that the two musicians are compatible chamber musicians as they combine forces and feed off of each other musically. Bekker breathes new life into the seldom heard but beautiful aria transcriptions from Korngold’s opera Die tote Stadt. The work originally premiered in 1920 and was a major hit. Following the premier, the Nazi regime banned the opera due to Korngold’s Jewish heritage. Over the entire duration of Aaron Copland’s Violin Sonata (1943), the three-movement structure breaks traditional nineteenth century precedents, making it a much more modern piece than the Korngold. The piano part is characterized by “planning,” a technique involving a series of parallel chords, which here, are made of stacked perfect fourths. Two Pieces was written by a young Copland and highlights his interest in American folk, blues, and jazz. The piece showcases Copland’s early influences, setting the foundation for his future compositions. Purchase this CD now at: http://www.classicalsavings.com/store/p175/Twentieth_Century_Duos.html TRACK LISTING Yuriy Bekker, violin Andrew Armstrong, piano Erich Wolfgang Korngold (1897 – 1957) MUCH ADO ABOUT NOTHING, SUITE FROM THE INCIDENTAL MUSIC, OP. 11 1 I. Maiden in the Bridal Chamber 2 II. March of the Watch (Dogberry and Verges) 3 III. Garden Scene 4 IV. Hornpipe 5 MARIETTA’S LIED FROM DIE TOTE STADT, OP. 12 6 TANZLIED DES PIERROT FROM DIE TOTE STADT, OP. 12 Aaron Copland (1900 – 1990) SONATA FOR VIOLIN AND PIANO 7 I. Andante semplice 8 II. Lento 9 III. Allegretto giusto TWO PIECES FOR VIOLIN AND PIANO 10 Nocturne 11 Ukulele Serenade

Navona’s latest compilation release, BETWEEN THE ECHOES, showcases selected recent chamber works, expressing the common theme of recollections and interpretations of past experiences. Moving across the spectrums of moods and dramatics, each piece brings a harmonic resolution to its soulful journey. This album joins multiple personalities in a collection of propulsive musical expression. For some pieces on the album, musical tradition is a source of inspiration. Burwasser’s colorful woodwind quintet Whirlwind imbues a familiar instrument group and classical forms with imaginative, lyrical melodies, culminating in a distinctly Haydn-esque finale. In his dramatic and spontaneous Florébius for violin and piano, Crossman weaves new interactions between Schumann’s favorite characters, the introverted Eusebius and the extroverted Florestan—“one within the other, one lurking behind the other, each ready to take center-stage.” Elsewhere, tradition is gleefully thrown to the wind—such as with Lee’s stunning Farewell… for string quartet, with its ever-shifting rhythms, timbres, and moods. In an intensely personal musical display, Raillard’s melancholic Sinking Islands for solo guitar uses interconnecting minimalist figures to meditate on mortality. DeVasto’s lush trio His Branches Run Over The Wall for violin, cello, and piano is inspired by the biblical account of the dream interpreter Joseph, conjuring an entangled web of melodies and harmonies to create a “musical dreamscape”—one of several new and familiar sound worlds to be found on the album. Purchase now at: http://www.classicalsavings.com/store/p297/Between_the_Echoes.html TRACK LISTING WHIRLWIND Daniel Burwasser Arcadian Winds | Vanessa Holroyd, flute; Mark Miller, clarinet; Jane Harrison, oboe; Laura Carter, french Horn; Janet Underhill, bassoon 1 I. Quarter note = 84 2 II. Quarter note = 70 3 III. Dotted quarter note = 100 FLORÉBIUS Allan Crossman Eusebius Duo | Monika Gruber, violin; Hillary Nordwell, piano 4 Romance 5 Novelette 6 HIS BRANCHES RUN OVER THE WALL David DeVasto Sam Stapleton, violin; Emmalee Hunnicutt, cello; Seong-Sil Kim, piano 7 FAREWELL… FOR STRING QUARTET Michael Lee Vit Muzik, violin; Igor Kopyt, violin; Dominika Mužíková, viola; Petr Nouzovský, cello SINKING ISLANDS Georges Raillard David William Ross, guitar 8 I. 9 II. 10 III.