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  Volatus-Music for Advanced Ballet

  Volatus offers teachers 30 selections of great classical music for the most advanced levels of study. Each track includes a 4 count introduction and long, non repetitive bands. Inspiring accompaniment helps teachers challenge students technically and artistically guiding them to their highest level of achievement. Whitefeather Productions Whitefeather Productions believes that there is a demand for ballet class music designed specifically for the needs of beginning, intermediate, advanced and pre-professional levels of training, and that each level of training requires a different musical emphasis. Founders Margarita White, Tatyana Featherman and Melinda Pendleton also feel that the process of early ballet training should include music of artistic merit, and as students progress onto more advanced levels of training their musical accompaniment should aid that process by growing with them. This high standard is the philosophy that underlies each Whitefeather product. Tatyana Featherman - Pianist Tatyana Featherman was born in the former Soviet Union, where she received her elementary music education in the Ukrainian city of Lvov. Upon completing her education in Odessa, Tatyana was engaged as an accompanist with Vodnic, a prestigious rhythmic gymnastic school. In 1982, Tatyana immigrated to the United States where she began working as an accompanist for Margarita and John White, directors of the Pennsylvania Academy of Ballet. During the ensuing years, Tatyana recorded three albums for ballet classes - 'Spirit of Movement,' 'Harmony in Motion' and 'Fire Within.' While studying ballet at the academy, she attended John White's teacher's seminar, and began teaching ballet in addition to her work as accompanist. Margarita White Margarita White, born Margarita de Saá in Havana, Cuba, studied ballet with Fernando and Alicia Alonso. Margarita joined the newly formed Ballet Nacional de Cuba rising through the ranks from corps de ballet to principal dancer. In addition to her dancing responsibilities, she learned the Vaganova teaching method from Soviet ballet masters, and taught in the new state school, Cubanacan. Margarita left Cuba with her husband, John White. In 1969, they were invited to join the Pennsylvania Ballet company where they remained until 1974, when they founded their own school, the Pennsylvania Academy of Ballet in Narberth, Pennsylvania. Margarita is considered an authority in the world of ballet. The Academy trains over 300 students each year, and many graduates are dancing professionally in companies around the world. Melinda Pendleton Melinda Pendleton began her ballet training at the age of 8, at the Pennsylvania Academy of Ballet. In 1984, she won the highest award in The Carey Rose Winski Memorial ballet competition. Two years later she competed at the international competition in Jackson, Mississippi. Melinda went on to perform in France with the Ballet du Nancy, and then returned to the United States to perform with Dance South, in Charleston, South Carolina. In 1991, after spending a year in Atami, Japan, performing with Minnie Madden Productions, she began her teaching career at the Pennsylvania Academy of Ballet under the direction of her parents Margarita and John White. Melinda has since joined her parents as co-director of the Academy.

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  Love Songs & Arias

  Mr. Giuseppe Taormina has performed in Italy, Europe, and the United States, as well as a worldwide tour of the Middle and Far East with the 'Ambassadors of Opera'. He was born in Palermo, Sicily, Italy. He started voice training at a very early age and began performing in Sicily. When he arrived in America, he immediately auditioned for the Metropolitan Opera Company, where he was accepted into the Young Artist Program. He received two scholarships as primo tenore while at Hunter College. He won the leading roles in La Traviata, Tosca, and Cavalleria Rusticana, which are now all favorites among his repertoire.Most notably, Mr. Taormina has received the very prestigious honor of Necklace Knight,'Cavaliere di Collona.' The noble title of Saint George in Carinzia Supreme Military Order bestowed upon Mr. Taormina is the only one in the United States. Mr. Taormina's operatic appearances include performances with the Philadelphia Opera, The New Jersey Performing Arts Center (under the direction of Maestro Alfredo Silipigni), The Metropolitan Repertory Ballet's 'An Evening with Verdi, The Tribecca Performing Arts Center, The Merkin Concert Hall, The Waldoff Astoria Hotel in New York, The Garden State Arts Center, and at the world-renowned Carnegie Hall. Mr. Taormina has given command performances for Kings of both Yugoslavia and Bulgaria, also Imelda Marcus, the former First Lady of the Philippines. He recently traveled to St. Croix, in the Virgin Islands, where he sang in concert in a Castle, hosted by Countess Nadia De Navarro. Mr. Taormina remembering his roots has given a command performance at Carini Castle, his hometown on the outskirts of Palermo Sicily. Mr. Taormina has performed in concert, and at cultural, civic, and charity events across the USA. Among these were performances at: The Hotel Plaza, Milford Plaza, Westchester Theater, several Atlantic City Resorts & Casinos, the Wisconsin Arts Festival in the Park, The Asbury Park Convention Hall, The 15th Annual Juniper Park Concert Series, Shea Stadium, The Lakewood Theatre, and Casa Italiana Zerilli-Marimo Theatre. He was honored to sing for the Mario Lanza Society, The Beniamino Gigli Memorial Concert, and two events marking the 100 years anniversary of Enrico Caruso's Metropolitan Opera House debut. Mr. Taormina was honored to sing for The Italian Heritage and Culture Council Chamber at City Hall, in NYC, for the Italian-American State Legislators, and the American Parkinson's Disease Association. Recently, Mr. Taormina sang at masses that were celebratedby Cardinal Egan in cathedrals throughout the Vatican and Rome. Mr. Taormina sang at a memorial ceremony in Washington D.C. for Constantine Brumidi, who was known as 'The Artist of the U.S. Capital'. He has also sung at the Casa Italiana in Washington D.C.. Mr. Taormina was honored to sing in commemoration of 100 years of Order Sons of Italy in America. Mr. Taormina's powerful voice expresses his passion for music, while his talent, warmth and joy of performing are evident to live audiences. He has recorded three albums and most recently a CD, 'King of High C' and Verissimo Tenore, on which he sings his favorite operatic arias and beloved, classical Neapolitan and American love songs. Mr. Taormina's powerful voice expresses his passion for music, while his talent, warmth and joy of performing are evident to live audiences. Mr. Giuseppe Taormina can do a program with piano and accompanist, up to full orchestra. Mr. Taormina provides an entertaining program of great music filled with the deeply emotional songs and arias of his Italian heritage. For engagement availability of Mr. Giuseppe Taormina: Call: (718) 981-9429.

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  Voice Upon the Mountain

  Women in Harmony, a 60-member chorus of women in the Portland, Maine area, has a long tradition of singing out for social, political, and economic equality for women, and for peace, freedom and tolerance for all. The chorus is notable for it's dedication to both musical excellence and social justice. Women in Harmony is committed to supporting the work of women composers, performers, and poets. We have performed pieces by numerous living women composers, including Eleanor Daley, Gwyneth Walker, Ruth Huber, Ysaye Barnwell, Bernice Johnson Reagon, Joan Szymko, and Jenni Brandon, and have commissioned works from Elizabeth Alexander and Erica Quin-Easter, a former Women in Harmony member. We are fortunate to have our own in-house composer, our accompanist, Deana Ingraham Gurney, who has composed and arranged several works specifically for Women in Harmony, including Hymn to the Muse on this CD. Change of Heart- This song embodies the joy that the singers find in singing for a better world. The title of this album comes from a line in Change of Heart : "There's a change of heart/Anytime you join the choir/Be a voice upon the mountain/Or see a fire in the rain." Wood River- This Canadian song embodies that feeling of wonder, expansiveness, and comfort that so many people associate with water. Marie- Here is the heart-warming and funny story, set as a waltz, of a lesbian couple who won a court case allowing them to attend the high-school prom together. Igraj Kolce- We change our vocal style for this Slovenian folk song. Drag Lines- Drag Lines came to us through our director's brother, a union organizer. It tells the story of the effects of the mining practices of big coal companies on the poor families of Appalachia. Wanting Memories- Our cover of this Sweet Honey in the Rock song features our pianist, Deana Ingraham Gurney, on the lowest parts. The writer reflects on the loss of her parents. Weep No More - A wistful adaptation of a stanza of John Keats' Fairy's Song, this song features overlapping vocal parts and showcases our pianist, Deana Ingraham Gurney. How Can I Keep From Singing? This is an a cappella version of this Quaker hymn. The words "how can I keep from singing?" probably encapsulate Women in Harmony's reason for being better than any other phrase, communicating both our passion for singing and the notion that it is through singing that we seek to make the world a better place. Power and Glory- Who can forget this wonderful anthem by Phil Ochs? In J. David Moore's rousing arrangement, listen for a musical quotation of This Land is Your Land. The Lake Isle of Innisfree- A sublime setting of the Yeats poem from the pen of Eleanor Daley, one of Canada's most talented living composers. Song for Peace- A lilting folk song from Canada that encourages us all to leave our differences behind and weather life's trials together. Hymn to the Muse- Pianist Deana Ingraham Gurney created Hymn to the Muse by adapting an arrangement by Layne Redmond of an ancient Greek hymn in praise of Kalliopeia, one of the nine muses of Greek mythology. 1000 Grandmothers- This song depicts the power of grandmothers to effect social change. Bound for Freedom- Our version includes a verse specifically about Women in Harmony: "From the rocky shores of Maine, we will lift our voices clear/Singing songs that we believe in, about truths we hold so dear." Big Dogs, Music, and Wild, Wild Women- This popular song by Ruth Huber features an infectiously happy piano solo in the middle. How Do I Love Thee? A surprising and jazzy setting based on the Elizabeth Barrett Browning poem, full of doo-wahs and doo-bah-doohs.

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  Love & Dreams

  This is Lisa and Franz's very first album! Lisa Egert-Smith is a coloratura soprano from Mountain View, California, who has a long and abiding love of music. She was born in Palo Alto, CA and has been studying voice with the highly regarded Evaldo Dal Poggetto for more than a decade. She has sung and danced in Carmen and sung in Madama Butterfly with West Bay Opera. She has also performed at various venues with Mission City Opera and danced with the Nirkoda Dance Troupe. She performs at concerts, fundraisers, private parties, charity functions, communions, and weddings, as well as public events throughout the Bay Area. In addition to being a singer, Lisa draws and paints and is a mother to eight-year old twins. She volunteers as an Art Docent in the schools and works as a Reiki practitioner. Lisa's interests include meditation, yoga, reading, and hiking. Franz Lanzinger is an accomplished pianist and accompanist from Sunnyvale, California. He has performed as a vocal and instrumental piano accompanist, soloist and rehearsal pianist since 1974. He has extensive experience with classical chamber music including most of the Violin and Piano Repertoire and the Piano Trio Repertoire. In addition to accompanying Lisa on piano, Mr. Lanzinger is the accompanist for the Valley Chorale, playing for weekly rehearsals and performing in twenty concerts per year at various locations in Northern California. In the sixties and seventies Mr. Lanzinger studied classical piano at the Innsbruck Music School in Innsbruck, Austria, and received private lessons from Ejnar Krantz, Robert Hamilton, and Professor William Cerny, chairman of the Music Department at the University of Notre Dame. Mr. Lanzinger's musical expertise has extended into video game music production, for the arcade game "Crystal Castles," the Nintendo game "Krazy Kreatures," the PC game "Gubble," and more.

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  Beethoven Bookends

  Michael Toth began studying piano at the age of 7 with Marjorie Haimbach and gave his solo debut at Carnegie Recital Hall when he was 14. He studied with Artur Balsum and Frank Glazer at the Eastman School of Music and then received his Masters of Music at the University of Notre Dame in Indiana. Michael has performed extensively both as a soloist and an accompanist throughout the country and in Europe. He is currently the pianist for the Allentown Symphony Orchestra and a member of the Crosswinds Trio and teaches piano at Muhlenberg College. Michael also has a Masters degree in Electrical Engineering and maintains both careers as an engineer and a pianist.

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  Imagining Dance

  Nenad Duplancic - Oscar, started his career in 1980 as a ballet accompanist, in Belgrade, former Yugoslavia. In 1993 he joined the brilliant staff at the ever evolving and expanding The School of Dance in Ottawa, Ontario. His work ranged from accompanying creative movement classes, such as the Twirling Tots class for children 2 to 3 years old, to ballet companies such as the National Ballet of Canada and The Royal Winnipeg Ballet. His future aspirations include releasing more CD's with original music for creative movement classes and ballet classes, as well as furthering his work in jazz composition.

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  Remember

  The choral selections on this recording cover a wide spectrum in their approach to life and it's inevitable ending. The composers of these pieces have created strong emotional works that can move the listener to tears, but at the same time raise that listener's spirit. Listening to this music is a chance to remember - but that can be experienced in different ways. Five of the compositions are directly related to war. Three of them are based on texts from World War I. Of those, two are set to Laurence Binyon's timeless poem For the Fallen. Canadian composer Eleanor Daley's setting makes evocative use of the trumpet so often associated with military ceremonies. Mike Sammes' composition for male voices is incredibly moving and ends with the piano playing the final notes of The Last Post. It has been sung at every Saskatoon Chamber Singers' Remembrance Day concert as the Act of Remembrance. Many choral compositions have been written to the words of John McCrae's In Flanders Fields. Canadian composer Kirkland Adsett has chosen to use violin and cello to create a melodic and lyrical setting of this famous text. We Remember Them by American composer Donald McCullough (The Holocaust Cantata) has a distinctively sad and melancholy character. The text by Rabbi Sylvan Kamens and Rabbi Jack Riemer is, in many ways, reminiscent of Binyon's poem mentioned above. The text reminds us that we must all remember the terrible things that can happen in the world when hate, prejudice and oppression go unchecked, so we can try to prevent them from happening again. A Soldier's Prayer by Canadian composer Beverly Lewis is set to an anonymous text found by a hospital nurse in the Philippines during World War II. The text begins "Let them in, Peter, for they are very tired" and then goes on to enumerate those things that the dead will never see or do or know. The fallen in war deserve to be given "things they like" and be told that "they are missed." The plaintive sound of the oboe adds to the poignant mood of this piece. Following along the lines of these pieces is Michael Horvit's Even When God Is Silent. The text for this piece was found by Allied troops in Cologne, Germany, written on a basement wall by someone who had been hiding from the Gestapo. It was commissioned by Congregation Emanu-El on the occasion of the 50th anniversary of Kristallnacht. In Ose Shalom, John Leavitt uses clarinet, violin, cello, bass, and piano to accompany the choir in this moving plea for God to create not only peace in the heavens, but also peace for the Jewish people. Four of the selections are more traditionally sung as hymns. There are two settings of O God, Our Help in Ages Past. Paul Christiansen uses chorale-like arrangements of the familiar tune "St. Anne" for verses one, three, and five. The first and fifth are for male voices and the third for mixed voices. Each of these verses is joined by a contrasting verse that creates a sense of tension and despair. Alan Hovhaness wrote his own tune and accompaniment and set only three verses of the text. The first and third are homophonic in nature, the second has the voices entering one after the other, and all are accompanied by organ. Stephen Hatfield's Amazing Grace is a wonderful and innovative setting of this very familiar tune. The actual hymn tune is heard only in the solo oboe, accompanied throughout by a very beautiful counter melody for the choir. My Shepherd Will Supply My Need was arranged by our accompanist, Rod Epp. He has taken the traditional tune associated with this text and created a wonderfully tender and melodic piece. Both British composer William Walton and Canadian composer Jeff Enns have set Phineas Fletcher's poem "Litany" to music. Although Walton seldom wrote church music, A Litany, composed when he was only fourteen, already foreshadows his distinctive style. Jeff Enns' Litany, inspired by Walton's version, is a composition that is both heartfelt and uplifting and full of beautiful melodies and rich harmonies. The text begins "Drop, drop, slow tears." The shedding of tears is a natural part of the grieving and remembering process. Three of the compositions on this recording are better known for their text than the music to which they have been set. Australian composer Graeme Morton chose Tennyson's timeless poem Crossing the Bar, in which the final stages of life are paralleled with the sailor's evening return to port at journey's end. Christina Rossetti's poem Remember is the text used by Canadian composer Stephen Chatman. The sentiments of this poem reflect much of what we are asked to do when we remember: never should we let the pain of memory take away the joy of living. Chatman's piece is reminiscent of chant in that the character and movement of the piece are reliant on the ebb and flow of the words of the text. Canada's senior composer, Healey Willan, has written a sublime piece to a text by Henry Wadsworth Longfellow, How They So Softly Rest. One of Willan's early works, it hints of Russian church music with it's rich chords for both male and female choirs and is typical of his soaring melodic lines. Canadian composer Allan Bevan has written a truly beautiful arrangement of Ave Maria for two soprano soloists and women's voices. This piece won first prize in the equal voices category in the 1999-2000 Association of Canadian Choral Communities' choral composition competition. The beautiful melody and harmonies unite to create a piece that soars majestically to it's conclusion. Another Canadian composer, Stephanie Martin, set to music comforting words from the Eastern Byzantine rite (circa 842). Kontakion, although homophonic in nature and sung with a feeling of chant, creates a sense of peace now that death has come and a sense of jubilation about what is yet to come. The words of the faithfully departed ask that they be given rest with the saints in a place where there is no longer pain, sorrow, or sighing, but only life everlasting. Cellist Pablo Casals composed O Vos Omnes to a short text from Lamentations. At first Casals sets the male voices against the female voices, but soon they come together as one to reflect a united sorrow. I'm Stillen Friedhof by Hugo Wolf is one of his early compositions and was probably written for the Ritterbund, a close group of friends who came together on a weekly basis for music and good company. The sombre mood first set by the opening chords of the piano gives way to a rhapsodic melody that is sung in turn by the four voices before once again returning to the same sombre mood of the opening. The piece asks us to consider the speed with which the body within a grave can be forgotten, since life seems to continue unaffected. Canadian composer Pierre Mercure wrote Cantate pour une joie in 1955. It is a remarkable work of seven movements, six of which depict the horror and savagery and sadness of war and the state of the world. The cantata concludes, however, with a joyous A Cry of Joy in which the opening piano introduction imitates the pealing of bells on some auspicious occasion, and this sense of festivity and celebration continues throughout the piece. Mercure was concerned with the yearning for joy rather than the concept of joy itself. Jeff Enns' God Be in My Head serves as a suitable conclusion or benediction for this CD. Sung in unison, it's simplicity of melody and text calls us back together to do what the title of the CD first asked us to do - Remember.

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  Enchantment: Music By Michael Mauldin

  ENCHANTMENT: THREE MEDITATIONS FOR TWO PIANOS was written for pianist Lawrence Blind to celebrate the birth of his twins, Alexandra and William. Larry was my accompanist when I directed the Albuquerque Boy Choir. When I retired from the choir, his first child was "on the way," so I wrote "Going Forth at Dawn with Power" to thank him for his years of service to the choir and to celebrate Wesley's birth. I chose the title of the two-piano piece to reflect the enchantment Larry felt with his babies, and that I felt with nature at "Annacarla." That was the name that Dutch linguist, Elizabeth Willink gave her rambling adobe house near Cuba, New Mexico. In the late 70's, she invited me to stay there on my trips to Chaco Canyon. Twenty-five years after "Willie's" death, I bought the house and restored it as a composing and teaching retreat for myself and my students, and for other music students and guests who enjoy the scenic and spiritual landscape of northern New Mexico. VOICES FROM CHACO: CONCERTINO FOR PIANO AND WOODWIND QUINTET won the 1980 Composer-of-the-Year Competition of the Music Teachers National Association. Dedicated to the memory of another pianist/friend, Paul Muench, the work was written to provide advanced pianists of high-school or college age with a solo work having an instrumental accompaniment of chamber proportions. Centuries before Europeans came to North America, the Chacoans created beautiful cities, accurate solar/lunar markers, intricate artwork, straight roads, and a far-flung trade network. "Voices from Chaco" marked the beginning of my long fascination with these remarkable people. By "time-traveling" a thousand years to a civilization that seemed "at one" with the cosmos, I found a way to be positive in my work. There was also the tragic tone of a great people who dispersed, perhaps because of their overuse or misuse of the land (and maybe of their own power). Though we may never be certain of the reasons for Chaco's abandonment, I sensed that the place held valuable lessons for us. A LITTLE MAGIC was written for an outstanding new boychoir in Oakland, California, the Pacific Boychoir, founded and directed by Kevin Fox. The words were written by Peggy Pond Church, who was best-known for her book THE HOUSE AT OTOWI BRIDGE, excerpts from which I used as the narration for my orchestral suite, "Enchanted Land." Peggy grew up on the beautiful mesas around what is now Los Alamos, New Mexico before her father's boys' school was chosen by the government as the site for atomic-weapon research. I. Prayer Let me live keenly as a lark high-soaring In one swift arc of song across the sky, However brief let my flight be unswerving And straight and high. Let me increase as rivers do and gather Wisdom from hills and every rooted tree, Then let me go at last like quiet water Toward the sea. II. Pilgrimage The black stone: I carried it all the way up the mountain. When I came down, a piece of the moon was shining in my pocket. III. Stones Stones Those many shaped small smooth-polished pebbles Have been waiting so long For the ear that can hear How they cry out. The Pacific Boychoir Academy is one of the only full-time choir schools in the USA, and the only one on the West Coast. Continuum is a group of former boy choristers in grades 7-12 whose voices have changed. The Pacific Boychoir has appeared frequently with the San Francisco Symphony, and can be heard on the Grammy-winning recording of Mahler's Third Symphony with the SFS. The PBA has sung with the Moscow Chamber Orchestra, the Berkeley Symphony, the National Symphony Orchestra of Brazil, the UC Davis Orchestra, the American Bach Soloists, and the Youth Orchestra of the Americas. WORLD WORDS was written for the Albuquerque Boy Choir, directed by Ed Torrez, after my retirement as director. The words are paraphrased from the book "Worldwords" by Victor La Cerva MD, published by Heal Foundation Press. I. Nasha hozho (Navajo: To walk in the Beauty way) To walk in beauty Is to know the goodness of all creation. II. Kairos (Greek: Right timing/synchronicity) Trust that part of you always knows when to listen, That part of you always knows when to act. Honor the knowing of the other way to listen. Invite the rhapsody of committed surrender. III. Mitakuye oyashin (Lakota: We are related to everyone and everything) We walk through the earth with open eyes to be one with all that is. We accept our humble place in this vast creation to honor kinship with all that lives. O sacred candle of understanding, light our path, we are part of a great unfolding. We are related to life around us, we are part of the life-force of all creation. All things above us, all things below us, all honor kinship with all that lives. We honor kinship with all that has life. FOUR ZUNI-MOUNTAIN MINIATURES FOR CHAMBER ENSEMBLE was commissioned by the Ensemble of Santa Fe. This is a recording, made by musicologist Jack Loeffler, of the premiere performance in Santa Fe on March 3, 1985. My wife and I bought and fenced 20 acres of Zuni-Mountain land, to allow it to recover from years of overgrazing. I reveled in the beauty and used the piece as a kind of journal. Back in Albuquerque, I could recall the feel of the place in different seasons and at different times of day. SANTA FE MAGIC is a tribute to the life and work of Peggy Pond Church, whose words I used in "Enchanted Land" and in the three short pieces for the Pacific Boychoir. After she had to leave "the hills" (see "A Little Magic" above), she lived and raised a family in Santa Fe. She had a keen eye for the beauty and sacredness of WILDNESS-whether in nature or in people, themselves a part of nature. And what she saw, she put into words-every day, in her journals and poems. She was a gifted and prolific poet. After her death, I chose these three poems from the unpublished writings I was shown by Peggy's daughter, Kathleen, who narrates this recording, made by the Russian State Symphony Cinema Orchestra, conducted by Sergei Skripka: I. October Sundown Great clouds leap upward from the earth like flames Into a cold, blue sky. The mountains are a line of sharpened fire Quenched at their lowest slope by a dim tide of twilight. Golden leaves glimmer along pale rivers. Dark birds fly soundlessly in and out of radiance. Oh this is music written for the eye. It vanishes beyond the first white stars Like a chord held till the last echoes die Into a waiting silence. II. The Children The children are going to school: rivulets of color and curls, White shirts mother-ironed, the man-like tie, arms clutching books and bags. They gather from all directions as though it had rained on the hills, As though the rain had turned into children running downhill, Streaming through arroyos to the river. From the river they are caught like fish in a net, Lifted and sorted to sit in even rows all day, Being stuffed with learning, being caged and tamed. How quiet the fields are, how quiet the houses. All the human noise has gone downtown, The birds and the trees have the world to themselves. How long as it been since the children ran free on the hills? III. Ecstasy A lifetime of journeying among these bare hills, Past these escarpments, these wind and water sculptured sands. Remembering how, a child at the edge of the ocean, Watching the water slope back beneath the curved wave, She cupped the glistening grains under her small hands, Becoming a maker of what the sea would erase by morning. Time has more time to play at making mountains. There is no accounting, though, for this ecstasy of time past That penetrates the present moment. * * * Born in Texas in 1947, Michael Mauldin moved to New Mexico in 1971 for "the space, the light, and the timelessness," after completing a Bachelor of Music degree at Washburn University of Topeka. He completed a Master of Music degree at the University of New Mexico and served as president of the Albuquerque Music Teachers Association, the New Mexico Music Te

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  Miniatures

  This disc explores the intimate genre of the 'miniature' and includes some of Peter's own Bagatelles. Beautiful artistry, sensitive interpretation, masterful technique. Concert pianist Peter Allen has continually delighted audiences with his power and poetry as a pianist, composer, teacher and conductor. With two solo CD's to his credit, Peter has a new one in the works including the Brahms Handel Variations and Mussorgsky's Pictures at an Exhibition. He is currently Professor of Piano at Dalhousie University's Department of Music in Halifax, Nova Scotia, Canada. He is often heard on CBC regional and national radio and maintains a successful performance career playing concerti, chamber music and solo recitals at festivals and in series concerts throughout Canada. Also an active composer, he had the honour of being the only music finalist for the 2006 N.S. Lieutenant Governor's Masterworks Award for his orchestral work (a commission from the Nova Scotia Youth Orchestra), 'Variations on the Halifax Explosion'. He has had many commissions, the most recent by CBC for a piano concerto called 'Hurricane Juan', to be premiered by Symphony Nova Scotia with Peter as piano soloist on September 25, 2008 in Halifax and broadcast nationally on the fifth anniversary of the day Hurricane Juan devastated Halifax. Peter has a Master's Degree in Piano Performance from Yale University. He worked for many years as a staff accompanist at the Banff Centre for the Performing Arts before he relocated to Halifax, Nova Scotia.

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  River of Romance

  Music Biography of Paul Ramana das Silbey Romantic classical concert pianist Spontaneous compositions 'streaming' through his heart and soul Mr. Silbey has been a pianist since childhood, when, in New York City, he studied for ten years with Nina Grosavitch Zavadsky, star pupil of the legendary Rimsky Korsakoff. Mr. Silbey's closely supervised training mirrored that of the piano student in the movie 'Madame Souzatska', which was taken directly from Ms. Grosavitch's life and teaching methods. As Mr. Silbey matured, he became the accompanist for the Columbia University Glee Club, and Director of the Barnard College Glee Club in the late 1950's. After performing in New York's Town Hall, Steinway Hall and Carnegie Hall as a young man, he married and turned to a career in management, marketing and sales for a major corporation. In 1970, he decided to explore more fully the inner and outer worlds of experience, which led to a renewal of musical study and performance. After several years of learning the complexity and variety of world music, jazz and shamanic drumming, he formed a succession of experimental world beat dance bands, first in New York City in 1973 (the Collective Star), and later in Northern California in 1980 (Angelsong) With the advent of the new music technology, he drew on his classical background of theory, harmony and composition, while incorporating a wealth of contemporary percussive rhythms, melodies and arrangements. This marriage of classical and contemporary traditions led to several pioneering and creative dance/jazz/world beat albums: Music of the Mantric Wave (1974), Garuda (1975), American Mantra (1978), Angelsong (1982), Sound Power (1985), Millennium Dance (1990), Ecstatic Sound (1992), Ecstatica 1 (1994), and Ecstatic Emergence (1998). He returned to the live solo piano in 2000, and with intuition coupled with effulgent heart and soul, started composing/performing in a spontaneous flow he calls 'streaming'...almost immediately receiving an overwhelmingly enthusiastic response. Three romantic piano compositions and three videos are now completed. He invites you, the listener, to enjoy, dream, envision, voyage and experience the musical CD's: River of Romance (U 112), Love's Healing touch (U 114), and Worlds of Love (U 113). Also to enjoy are his two beautifully videotaped concerts, one performed for Thanksgiving 2000, the other for Valentine's Day 2001, recorded live at the Falkirk Cultural Center Mansion in San Rafael, Ca. The Thanksgiving concert is available in two parts, plus a CD (U 115) that combines the sound tracks of both of them (Live at Falkirk 2000). The Valentine's Day concert was shot for PBS airing and distribution. He performs at concerts, benefits, places of worship, social parties and intimate gatherings. In a new burst of inspired creativity, he has released in 2006 a new CD that is a live piano/harmonium concert, recorded at Fantasy Studios in Berekely Califronia... called 'Romantic Sanctuary'. It is also available through CD Baby. For further information, booking and ordering product, call 415-499-1769, or fax 415-499-9163, e-mail: yaluie@pacbell.net, or write P.O. Box 613, Fairfax, Ca. 94978.

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