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  Men of the North

  Sgt. Mooney of the Royal Canadian Mountain Police is dispatched to the frozen tundra with orders to catch the daring thief who stole a shipment of gold. Mooney's suspicions immediately fall upon the dashing, devil-may-care trapper Louis LeBey (Gilbert Roland), known as The Fox. While LeBey tries to stay one step ahead of the indefatigable sergeant, his eye is caught by Nedra Ruskin, who is visiting her father, gold-mine owner John Ruskin (Arnold Korff). Local girl Woolie-Woolie (Nina Quatero), jealous of LeBey's feelings for Nedra, sets up LeBey by giving Sgt. Mooney the goods on the stolen gold. LeBey flees to the wilderness with the Mounties in hot pursuit, but an accident compels him to come to Mooney's rescue while an avalanche looms. This lean and jaunty action romance comes to us courtesy of legendary producer/director Hal Roach and is chock-full of his customary kinetic aplomb.

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  Utaki-The Sacred Grove

  Matthew Van Emmerik Flinders Quartet Australian Chamber Brass Featuring: Janis Cook, Mark Kruger - piano Summit Records: DCD539 Total Playing Time: Approx 75 mins Having returned a few years ago to his homeland Australia, Matthew Van Emmerik is establishing quite a reputation as a euphonium soloist, conductor and teacher. Substance With this superbly recorded CD Matt shows innovation and real musical substance as a performer and serious advocate for the euphonium. Three of the five pieces are substantial original works and two of these are commissioned by our soloist, and what stunning works they are too. The title track 'Utaki', referring to a sacred grove in the Japanese Shinto religion, is a delight from start to finish. Euphonium and strings is a dream combination especially when the balance and tuning is as impeccable as it here. The Melbourne-based Flinders String Quartet along with Janis Cook (piano) combine with Matt to give about as fine a performance of this extended one movement work as one is ever likely to hear. The atmosphere it creates is really haunting. Ever present Perhaps the classical world's greatest 'ensemble' piece for euphonium is Janacek's 'Capriccio', first performed in 1928, where the euphonium has an ever-present role alongside the piano, flute, two trumpets and three trombones. Sadly it isn't heard so often and this performance, demonstrating great sensitivity and elegance, will hopefully be a model for euphonium players to study in the years to come. This is serious music with a beauty that captivates the curious listener even at first hearing from this often misunderstood Czech composer. The dark textures are performed and recorded with tremendous aplomb and Matt's contribution is again first class. Demanding The 'Euphonium Concerto' by Barry McKimm is about 37 minutes long, making it one of the longest concerti we have and demands the most concentration from the listener. Again it uses the string quartet and piano as the accompaniment and it's quite an emotional journey. The composer understands the soul of the euphonium and it's ability to blend, dominate and in turn support the ensemble. His background as a trumpet player with both jazz and orchestral experience brings a fresh perspective to his writing. Throughout, Matt's playing of this sumptuously rich work is characterised by controlled lyricism and an assured technical mastery. Given it's complexity you are unlikely to hear too many live performances, which is such a pity, but here it is played with beauty and elegance by these professional Australians musicians and it merits repeated listening. Classical arrangements Two classical arrangements frame the central original works of the album, beginning with a rhythmically charged performance of Brahms' youthful one movement work for violin and piano, 'Sonatensatz'. Whilst an octave, and sometimes two, away from the original it does in my opinion succeed, even if purists disagree! The final track is Enrico Crespo's arrangement of Bruckner's simply named 'Etude', performed by Matt sitting in as a member of the Australian Chamber Brass. This rich toned ensemble performance acts as powerful and triumphant benediction to what should be justifiably regarded as a landmark disc in euphonium recordings, where music is the winner. Effects free This is a 'gratuitous virtuosic effects'-free CD, and is one that will stand the test of time. I would urge the CD collector to not be put off by the lack of familiarity or title recognition with this disc. It should not only be in the collection of every serious euphonium player but will be enjoyed by all who seek it out. Drive It goes beyond all the bounds that normally exert themselves on a recording euphonium artist, and Matt's tenacity and drive no doubt was a major factor in this project happening. His enthusiasm is boundless, and here this is matched by some truly outstanding playing, hallmarked by an abundance of high class sound, excellent intonation and good taste. Highly recommended in every way. Steven Mead What's on this CD? 1. Sonatensatz, Johannes Brahms, 5.25 2. Utaki,The Sacred Grove, Mike Fitzpatrick, 11.13 Capriccio, Leos Janacek 3. Movement 1, 4.52 4. Movement 2, 5.17 5. Movement 3, 3.55 6. Movement 4, 6.17 Concerto for Euphonium, Barry McKimm 7. Movement 1, 14.35 8. Movement 2, 10.36 9. Movement 3, 11.43 10. Etude, Anton Bruckner, 6.04.

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  Appassionata: Beethoven Liszt Chopin Rachmaninoff

  The name 'Appassionata' was given to this Sonata by one of Beethoven's publishers, and it is dead on accurate. In her novel 'The Vampire Armand' author Anne Rice has the protagonist of her book describe his reaction to hearing Beethoven's celebrated work. This 'outside the box' description reawakens our senses yet again to Beethoven's masterpiece. I knew the piano Sonata and had loved it in passing and now it's fury paralyzed me. Appassionata. Up and down the notes rang in gorgeous throbbing arpeggios, thundering downward to rumble in a staccato drumming, only to rise and race again. On and on went the sprightly melody, eloquent, celebratory and utterly human, demanding to be felt as well as heard, demanding to be followed in every intricate twist and turn. Appassionata. In the furious torrent of notes, I heard the resounding echo of the wood of the piano, I heard the vibration of it's giant taunt bronze harp. I heard the the sizzling throb of it's multitudinous strings. Oh, yes, on, and on, and on, and on, louder, harder, ever purer and ever perfect, ringing out and wrung back as if a note could be a whip. How can human hands make this enchantment, how can they pound out of these ivory keys this deluge, this thrashing, thundering beauty? Ann Rice The Vampire Armand reprinted by permission. Random House Provincetown was the place where, for many weeks, I prepared the music for this CD. The spectacular natural beauty of this little fishing village at the tip of Cape Cod has been the inpiration for many artists, musicians, painters and authors for countless decades. In the back of my mind I also kept as a guidepost the astonishing concerts by Arthur Rubinstein . I actually heard Rubinstein play the Chopin B-flat minor Scherzo at the Academy of Music in Philadelphia and the experience of such great music making is etched in my brain forever. The great Provincetown author Michael Cunningham won a Pulitzer Prize for his book 'The Hours'. He mentions listening to the music of Phillip Glass as he writes his prose. The Academy Award winning screen version of 'The Hours' has music by Glass. The final track on this CD is one of the works from that score. Paul Bisaccia Provincetown MA Check out excerpts from Paul Bisaccia's PBS television shows on youtube.com Critical acclaim for Bisaccia 'A magical evening which just got better and better... completely passionate in his performance.' The Barrie Examiner Ontario 'Delivered with power, poignancy, authority and aplomb' Worcester Telegram Gazette 'His fabulous encore with plenty of scintillating, puckish fingerwork on the ivories.' The Straits Times, Singapore 'Bisaccia brought the audience to their feet with genuine spontaneous cheers erupting out of sheer joy.' Steinway Society of the Bay Area (CA) 'Bisaccia is a serious artist with a compelling presence at the piano.' Connecticut Life 'For Gershwin interpretations Bisaccia wins hands down.' American Record Guide 'You really must hear him!' Brasilia Super Radio FM Brazil 'Earnest vivacity and sparkling virtuosity... infectious excitement.' Union-News Springfield (MA) 'George Gershwin would have joined the audience in the standing ovation at the conclusion of 'Rhapsody in Blue'. ' The Hartford Courant (CT) 'Prepare to be dazzled!' OnCenter Arts Quarterly, Hilton Head SC 'It just proves that talent always prevails in these times of mediocrity.Consummate musicianship. ' Michael Feinstein.

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  Ragtime Lullabies: Gershwin Joplin Debussy Billy J

  With 'The Real American Folk Song is a Rag' the Gershwin brothers began their history making song writing collaboration. How appropriate that their very first song together not only makes the case for ragtime, but the piano accompaniment is filled with self-propelling rhythms, unique syncopations and Gershwin's trademark harmonic surprises. Although not written for solo piano, Gershwin's original solo piano accompaniment to this song is quite suitable as a solo piano piece. Ragtime is perhaps the first uniquely American contribution to world music. In 1994 I was the first person to record a CD containing all Gershwin's solo piano music. ('Rhapsody in Blue, Gershwin's Complete Solo Piano Music') In 1995 Warner Brothers published a new volume of sheet music containing previously unavailable 'new' Preludes by Gershwin, which made me want to go back to the recording studio immediately. It just so happened that these Preludes all seemed to fit into the category of ragtime and lullabies. At the same time, the solo piano version of Gershwin's 'Lullaby' finally appeared in print and I felt that the combination of rags and lullabies would compliment each other nicely. Hence this new CD which is both an addendum to my first Gershwin CD and a rather subjective and personal investigation of ragtime and lullabies from the end of the nineteenth century to the present. 'Rialto Ripples Rag' was published in 1917 and written the previous year. It is George Gershwin's first published instrumental. It has all the hallmarks of Gershwin's tricky piano style merging ragtime with the piano novelty number. Gershwin was hoping for a hit with the publication of this piece. It didn't happen. Ragtime's heyday was really at the turn of the century, and by 1917 the ragtime era had ended with the death that year of Scott Joplin. Gershwin's 'Lullaby' is a true ragtime lullaby, sweet, full now of faded memories, and filled with slow motion ragtime syncopations, comparable in many ways to Scott Joplin's 'Solace'. It seems to have been written first as a piano piece around 1919, then transcribed by Gershwin for a string quartet. A portion of the original piano version still survives. Using that and the string quartet version, Alicia Zizzo reconstructed the original solo piano version. Gershwin had the idea of writing 24 Preludes - not unlike Chopin - and calling his series 'The Melting Pot'. He never completed the series, but several charming Preludes from the series still exist. The original 3 Preludes which I have recorded on my previous Gershwin CD are well known, loved by all pianists, and certainly have been a staple of the piano repertoire for decades. The 'new' preludes recorded here, were performed by Gershwin himself in a concert on December 4, 1926. Richard Stokes reviewing Gershwin's performance in the Evening World, called them 'brief and glowing little vignettes of New York life.' The 'Prelude January 1925' was clearly used as the basis for the finale of his piano concerto. 'Rubato' and 'Sleepless Night' are both wistful jazz studies and the 'Novelette in Fourths' is a charming raggy period piece. This Gershwin set ends with 'Summertime' from 'Porgy and Bess' - surely Gershwin's most well know Lullaby. Scott Joplin was the central and prime creative spirit of ragtime. A large segment of twentieth century American music including jazz, bebop, and the American popular song received it's shape and spirit from him. 'Maple Leaf Rag' (1899) is Joplin's keystone work. To play it gives a feeling of irresistible exhilaration and joy. It contrasts wonderfully with 'Solace,' a slow sweet ragtime lullaby. I mentioned earlier the comparison to Gershwin's 'Lullaby.' It is important to be aware of tempo in Joplin's music. In many of his scores he wrote that ragtime is never to be played fast. He wrote this as a horrified reaction to many musicians who would mindlessly bang this music out as fast as they could. Joplin's admonition however, resulted in much confusion since the music actually needs to find it's own tempo. The ragtime in this album has a variety of tempi and texture. Accorsing to Robert Haven Schauffler in 'The Unknown Brahms,' just before his death Brahms invisioned a ragtime project. Sadly we don't have that music, but we do have from Brahm what is probably the best know lullaby in the world - a tune that has been used for everything from quaint music boxes to Bugs Bunny cartoons. At the turn of the century American's cakewalked to ragtime. So did the French, thought they called it 'le temp du chiffon.' Every concert pianist knows 'Golliwog's Cakewalk' from Debussy's 'Children's Corner.' Gershwin certainly knew this music too, since he made a point of obtaining all the music of Debussy while visiting Paris. But even more striking is the similarity that 'Golliwog' has to Gershwin's third Prelude including the same chords in the opening bars. It's a wonderful example of the cross pollination of ragtime from America to Europe and back again via Gershwin to America. Debussy's Jimbo's Lullaby also from 'Children's Corner' is actually a reflection of his own rather individual brand of English. He insisted thst his daughter Chouchou's toy elephant was Jimbo - not Jumbo. The elephant is being told a bedtime story, and surely this is the most gravity defying of all elephantine music. 'Spaghetti Rag' is a favorite of mine. Written in 1910, I can't help but think of Charlie Chaplin twirling his cane to the circular tune of this music. From there we move to the other end of the twentieth century and what may strike some as a surprising choice of music to be recorded by a concert pianist. 'Root Beer Rag' was written at the beginning of Billy Joel's career and I can only guess was used by him as his own virtuoso showpiece which allowed him to stand out from the crowd. 'Good Night My Angel' written in 1993, is a touching gift by Joel (as is Debussy's Lullaby) to his daughter. I decided to end this album with a piece I occassionally use as an encore at my own concerts - 'Send in the Clowns' by Stephen Sondheim. It's a wonderful way to end a concert and say goodnight and pleasant dreams! Paul Bisaccia Provincetown MA pianowithpaul.com Portions of Mr. Bisaccia's film and television work can be viewed on youtube.com Critical acclaim for Bisaccia: 'A magical evening which just got better and better... completely passionate in his performance.' The Barrie Examiner Ontario 'Delivered with power, poignancy, authority and aplomb' Worcester Telegram Gazette 'His fabulous encore with plenty of scintillating, puckish fingerwork on the ivories.' The Straits Times, Singapore 'Bisaccia brought the audience to their feet with genuine spontaneous cheers erupting out of sheer joy.' Steinway Society of the Bay Area (CA) 'Bisaccia is a serious artist with a compelling presence at the piano.' Connecticut Life 'For Gershwin interpretations Bisaccia wins hands down.' American Record Guide 'You really must hear him!' Brasilia Super Radio FM Brazil 'Earnest vivacity and sparkling virtuosity... infectious excitement.' Union-News Springfield (MA) 'George Gershwin would have joined the audience in the standing ovation at the conclusion of 'Rhapsody in Blue'. ' The Hartford Courant (CT) 'Prepare to be dazzled!' OnCenter Arts Quarterly, Hilton Head SC 'It just proves that talent always prevails in these times of mediocrity.Consummate musicianship. ' Michael Feinstein.

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  Jumpin' on the Bandwagon

  '...We're not trying to push back any frontiers...' - part of the lyrics from 'Jumpin' on the Bandwagon' which express the band's intentions for this album. '...we try to use the familiarity and durability of past classics as a springboard to express our own feelings about life in the new millennium', says bandleader Kit Packham in his sleeve notes. He goes on to say a few words about each track which draw on a wide variety of musical genres within a broad jazz and blues spectrum. You may hear Louis Jordan, Ian Dury, Willie Dixon, Charles Mingus, Chuck Berry, Viv Stanshall, Louis Prima, Noel Coward, Mose Allison... or none of these! What you will hear is some great songs played by a great band. R E V I E W S Humorous blues lyrics don't come any better - cleverer or funnier - nowadays than those from Kit Packham's pen, and there are two or three new examples here which are as good as anything I've heard from him before. 'We Don't Normally Work This Cheap' in particular is exceptionally witty, and actually had me laughing out loud the first time I heard it. 'Cleaning Up My Act' too, is as amusing a piece of 1920s-style-jazz-vaudeville as you'll hear this side of the Bonzos. Anyone expecting this surfeit of good humour to equate with a lack of musical seriousness would be wildly mistaken, since Packham's comedy sits upon a bedrock of real jump'n'jive know-how and instrumental earnestness - this is a band, after all, which even gives a 'beats-per-minute' reading beside each track title. Personnel-wise, the band is not greatly changed from that which appeared on 1999's From Top to Toe, with Billy Jenkins again displaying the subtler side of his guitar range and tastefully producing throughout. Also worthy of mention here are the keyboard skills of Perry White, Simon Da Silva's trumpet work, and the fine rhythm backline of Chris Rodel (double bass) and Kenrick Rowe (drums). Sax duties are shared between Tracey Mendham and Kit himself. The songs, all originals this time, display a wide range of influences, not just the blues, jazz and jive tunes Packham praises in his amusingly honest sleeve note, but also Caribbean and Latin American music. The band switch styles and tempos with ease, and although Kit is not the greatest singer on the block, he plays the "personality vocalist" card with some aplomb. All things considered it's a very impressive set. Rating: 8 - Paul Lewis (copyright 2001 Blueprint magazine) S S S S S S S S S S S S I confess that I haven't checked, but with this CD, I'm pretty sure I now have the first reference to David Beckham's haircut in my collection! Singer and saxophonist Kit Packham inhabits a nightmare world where clouds follow him around just to rain on him, his cat disappears under mountains of junk mail, maniac truckers rule the roads and only leave the cab "for diesel, the toilet or a doner kebab", his mobile phone never works and, when he does get to play a gig, he finds that "a big screen above us plays an old cup final, the dressing room doubles as the men's urinal" - welcome to the third millennium! As you may have guessed then, all the material is original - very original at times - if occasionally just a little too wordy (but these songs do stay in your head long after the album has ended). Much of the music is jump or jive, owing a lot to the likes of Louis (take your pick - Jordan, Prima, even a snatch of Satch) but often with it's own little musical twists, most often provided by guitarist Billy Jenkins, a well-known innovator on the UK jazz and blues scenes, whose solos and fills are kind of, er, Jimi Hendrix plays Tiny Grimes as imagined by Vernon Reid of Living Color. Drummer Kenrick Rowe also deserves a mention for being totally on the ball, though there are no slackers here. There are a couple of Caribbean styled pieces in "Fried Bananas" (cod Louis Jordan plays cod calypso) and the mellow "Simple Things In Life", "Junk Mail" is almost Little Richard style, "Rough and Ready Blues" is virtually that, and the final number is a lyrically very clever and up to the minute song with a twenties jazz accompaniment and delivery. Oh, and "Big Swinging Dick" is about "a long-legged sleuth with a sideline in syncopation" - why, what did you think it was? Yeah, this is nice. If you like your jump-jivers note for note from old 78s, avoid this like the plague, otherwise, if what you have read here has piqued your interest, check it out by all means.... And by the way, don't take the title too literally. Kit has been purveying this brand of music around South London and environs for well over twenty years now. Norman Darwen (copyright 2001 Blues & Rhythm) S S S S S S S S S S S S This is Packham's best album to date. All originals from the leader with help from guitarist Billy Jenkins and arranged within a framework of jump, jive and boogie. The band (One Jump Ahead) play like a well-oiled machine but not like clockwork. There's loose rhythmic feel and the vibrant happy sound of people enjoying themselves. Packham and Jenkins supply some quality tunes including a number that will strike a chord with many bands (We Don't Normally Work This Cheap). The lyrics cover all the deflating experiences of a struggling band and even established ones no doubt. The Big Swinging Dick is obviously about a private eye with rhythm and is a good rousing number to boot! A good mixture of serious blues and tongue-in-cheek numbers that could make a party swing. David Lands (copyright 2001 Jazz Journal International) S S S S S S S S S S S S ........Once again Kit Packham and One Jump Ahead have come up with a highly entertaining album..... As always, the music from this big swinging outfit is superb and such is the range - everything from Chicago blues to boogie-woogie, jumpin' jive and and good time singalong - that this CD is a complete show in itself....... Chris Woodford (copyright 2001 Now Dig This)

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  Scherzi And Other Music

  A 'scherzo' may be a joke, but Chopin's Scherzi are not to be laughed at: indeed, they are highly virtuosic and require performers with the utmost skill. Within their complexity, though, is hidden some of the most sensitive and tender music Chopin ever composed. On hearing his Scherzo in B flat minor Op.31, Robert Schumann felt compelled to compare it to the romantic poems of Byron, as it seemed to overflow with passion and feeling. The Scherzo in B minor Op.20, marked 'Presto con fuoco', starts at tremendous speed, and climaxes in astonishingly virtuosic arpeggios that span almost the entire length of the keyboard, ending in a minor plagal cadence that seems to sum up the dark despair the piece encapsulates. More light- hearted but equally complex are Chopin's Études and Mazurkas, which he performed himself to great acclaim. It wasSchumann, again, who praised Chopin's skilful playing, marvelling at his capacity to bring out the inner voices just as clearly as the melody. At a time when other composers were turning towards large-scale orchestral works, Chopin knew his strengths lay with his solo compositions for piano: his Waltzes, Scherzi, Mazurkas and Études still rank among the most performed and beloved solo piano works today. This release illustrates why Chopin deserves his reputation as supreme composer for the piano, featuring as it does his most dramatic works for the instrument. Czech pianist Ivan Moravec, whose recording career spans almost half a century, entered the classical music scene in America with aplomb thanks to his performances of Chopin's Scherzi in 1962. This recording was made in 1989 at the world famous Troy Savings Bank Music Hall in New York State, which boasts one of the finest acoustics in the US. Playing on a Steinway Model D that had to be brought through the window especially for the performance, Moravec sparkles on this recording, as he illustrates why his reputation as a world class pianist is truly deserved.This release presents one of the best recordings of the 4 Scherzi by Chopin, as played by Ivan Moravec.Moravec recorded this Chopin recital in 1989 in the USA. Moravec is a "pianist's pianist", someone who combines deep intellectual musicality, passion and a superb command of keyboard. He is counted among today's greatest living pianists, respected and admired by audiences all over the world. Featuring the 4 Scherzi, and a selection of Mazurkas and Etudes.

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  Motales Que Amais-Complete Vocal Music

  Hailed in his time as Spain's greatest living composer, Joan Baptista Cabanilles is today considered by many to be the greatest of all Spanish Baroque composers, one whose wealth of ideas, mastery of counterpoint and command of form represent the climax of the Iberian tradition of organ music that stretched as far back as Cabezon. That Cabanilles was held in high esteem by his contemporaries is shown by his music's wide distribution in manuscripts. Though the vast majority is for keyboard, there do exist some 10 sacred choral works - precious remnants of what must have been a much larger repertory, probably conceived for the cathedral of Valencia in which the composer spent most of his working life.All of the works are assembled on this charming release, recorded by the chamber choir and musicological society Amystis, and a significant addition the Spanish Baroque discography that follows the completion of the critical edition by José Duce Chenoll of Cabanilles' entire vocal music output. Chenoll, who directs and provides the intonation, postulates in the liner notes that not all of the compositions - which include a Mass and Magnificat as well as works honouring the Blessed Sacrament - were performed in Cabanilles' lifetime, given that many are written on sketch paper (and possibly, too, in the composer's hand), but this should not detract from their masterful quality. Revealing the composer's great expertise in the use of musical rhetoric as well as his concern regarding varied rhythmic and harmonic effects, they are performed with aplomb by an ensemble that have made it their special task to research and promote, always via novel means, unpublished repertoire from the late 16th to early 18th centuries.Other information:- Recorded June & October 2012, El Puig de Santa Maria Royal Monastery, Valencia, Spain.- Juan Cabanilles (1644-1712) was one of the most important Spanish Baroque composers. He served for 45 years as Maestro di Cappella and organist of the Cathedral of Valencia.He wrote a substantial oeuvre for keyboard (organ and harpsichord), and a fine body of choral works, of which this new issue presents the first complete recording.- Cabanilles' choral works are grand scale, virtuoso and festive, composed for filling the vast spaces of the Valencia Cathedral.- Beautifully sung by the Coro Amystis, who did extensive research into the works of this neglected Spanish composer.-An important release, a valuable discovery of a treasure from the Spanish Baroque!

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  Moonlight Sonata: Beethoven Liszt Chopin Rachmanin

  In many ways Beethoven can be considered the first Romantic pianst. He broke all the rules in the name of expression and in doing so changed forever the way pianists conceive the piano. Before Beethoven, the hands were held close to the keyboard. The sounds of the keyboard were polite and tasteful. But Beethoven was a wild man who snapped strings and broke hammers all in order to fullfill his titanic conception. His performances had emotional depth, charisma and unprecedented power. Franz Liszt was a Beethoven disciple (having studied with Beethoven's pupil Carl Czerny) and Liszt took the idea of artistic expression to it's highest level. With Liszt the Romantic era of piano playing reached it's summit. Every composer who wrote for the piano after Liszt was indebted to him and certainly the music of Rachmaninoff and Albeniz show obvious Lisztian influences - in fact Albeniz was a student of Liszt. The other great romantic poet of the piano was Chopin. Liszt learned a great deal from Chopin and the Chopin Etudes (dedicated to Liszt and to Liszt's lover, the countess Marie D'Agoult) are indispensable for any pianist. Chopin once wrote in a letter 'Liszt is playing my etudes and transporting me out of my respectable thoughts. I should like to steal from him the way to play my own etudes.' My own teacher, Luiz de Moura Castro studied at the Franz Liszt Academy in Budapest and was a student of a student of Liszt. I might add that Moura Castro himself has been instrumental in continuing the Romantic piano traditions established by Liszt in both his teaching and concertizing. It is inspiring to play this music with the realization that it is all interconnected and as I perform this music in the 21st century, I can trace the connection back to the tradition of the Romantic piano that began with the heroic music of Beethoven. Paul Bisaccia - New York City pianowithpaul.com Check out excerpts from Paul Bisaccia's PBS television shows on youtube.com Critical acclaim for Paul Bisaccia: 'A magical evening which just got better and better... completely passionate in his performance.' The Barrie Examiner Ontario 'Delivered with power, poignancy, authority and aplomb' Worcester Telegram Gazette 'Bisaccia brought the audience to their feet with genuine spontaneous cheers erupting out od sheer joy. Steinway Society of the Bay Area (CA) 'Bisaccia is a serious artist with a compelling presence at the piano.' Connecticut Life.

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