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ORCHESTRA UNDERGROUND: A-V
Welcome to Orchestra Underground: A-V, an exploration
of some of the wonderful possibilities found when
video artists join the orchestra. This album contains
three collaborative works by as many composers
and videographers. Each is an integrated whole—the
impact of the audio-visual experience being much more
than the sum of its parts. As unified as the works are
individually, the collection is stunning in the range of
themes, sounds and aesthetics they offer.
Each of the three pieces was premiered by American
Composers Orchestra as part of Orchestra Underground.
This concert series, founded in 1994, seeks to re-invent
and re-imagine the orchestra with unusual instruments,
eclectic influences, new technologies, important new
compositional voices and the kind of interdisciplinary
collaborations seen and heard in this A-V album. The
works here are just a sample of the many new video/
orchestra pairings born of Orchestra Underground in
its first decade—and are released here to celebrate this
milestone.
The first-time collaboration of composer Margaret
Brouwer and video artist Kasumi resulted in Breakdown,
a sample-based hybrid opera in one act. Through this
mash-up of thousands of public domain film snippets,
the artists explore issues of power, corruption and public
mass deception. Next Atlantis, by composer Sebastian
Currier and video artist Pawel Wojtasik, addresses
the interaction between human culture and nature. It
includes stunningly beautiful images of the watery world
of New Orleans and the surrounding bayou, and water
sounds woven into the musical fabric of the orchestra.
The result is poignant: for New Orleans, water is both
the life-blood of the city and, as we have seen, its
potential destroyer. Composer Michael Gandolfi and
video artist Ean White created As Above, a diptych
made up of two sections juxtaposing the natural world
with our urban surroundings, through sound and image:
Touch, features natural images and a musical structure
based on fractal processes, and Electric explores urban
imagery and incorporates rock harmonies, blues lines
and Caribbean-inflected rhythms.
Finally, it is worth noting that none of these works is
a forced marriage. The composers and video artists
sought each other out, finding in each other something
that extends and complements their own work. In so
doing, they have created exciting new possibilities for
the experience of orchestra music. We are delighted to
share the results with you.
More information about American Composers Orchestra
can be found at www.americancomposers.org.
BREAKDOWN
Margaret Brouwer, composer
Kasumi, video
The goal in the creation of this hybrid opera was to write
music and video/ sound simultaneously, allowing each to
inspire and propel the other. From the very first moment,
the music and the video are completely interrelated. Most
of the musical motives were created by imitating a rhythm
or a group of intervals existing in the speeches or sounds
on the screen. Many are exact replications. Spoken phrases
were chosen that are not only emphatic but also have
vibrant rhythms and definitely pitched intervals.
For instance, in the sentence, “The machines give you the
power to control the universe,” the speaker’s voice rises
steadily in pitch, and the rhythm of his speech is definite
and emphatic. The first time this musical motive appears,
it begins in the brass, and, as the pitch rises and the
intensity of the speaker increases, the entire orchestra
joins in. This motive is used in different ways throughout
the opera. Other phrases that are literally copied and then
used as musical motivic material are “that’s extra fine,”
“perpetual profit,” “breakdown,” a short phrase from an
operatic-type singer, and the rhythm of a repeated laugh.
In Scene 3 the forward motion slows down and a dreamlike
sequence begins. Near the end of this scene, the speech
of the person who says the line, “There are some things
we do just because we believe in them,” has been slowed
down considerably. The phrase has been set to a melody
that follows the pitch shape of the voice and is timed to the
rhythm of the speaker.
In the style of a Gesamptkunstwerk, sometimes the musical
motives appear or are elaborated upon even when the
particular character or idea is not on the screen, deepening
Margaret Brouwer
Credit: Christian Steiner
the drama or showing a hidden message. History could
be rewritten as an account of significant gestures, both
physical and aural. The essence of evil can be embedded in
a salute, the energies of freedom rallied by a defiant word.
Thumbs up or down, heads lowered or eyes upraised—
are all central to our perception of certain crucial realities.
BREAKDOWN is an attempt at using these brief,
fragmentary gestures to weave a larger tapestry, both
narrative and musical. The cultural and historical context
of the clips is set off against its purely formal qualities: the
movement of a hand, a color, a shadow, a percussive sound.
These opposing qualities are continually in play with each
other, creating a tension that is central to the work. As
much as it could be said that BREAKDOWN is a narrative
construction using found footage, it is equally true to say
that it is the clips themselves, in their musical tone, their
symbolic meaning, and their latent transgressive energy
that drives BREAKDOWN.
1996 to 2008. In addition to Naxos, other recordings
of Brouwer’s music can be found on the New World, CRI,
Crystal, Centaur, and Opus One labels.
Margaret Brouwer’s music has earned singular praise for
its lyricism, musical imagery, and emotional power. Recent
premieres and commissions have included Concerto
for Viola and Orchestra, commissioned by the Dallas
Symphony; Path at Sunrise, Masses of Flowers, a Meet
The Composer Commissioning/USA award and premiered
by the Cleveland Women’s Symphony; her first children’s
symphonic drama, Daniel and Snakeman, premiered
by CityMusic Cleveland; Rhapsody for Orchestra,
commissioned and premiered by the Detroit Symphony;
and BREAKDOWN, a collaborative work by Brouwer and
video/sound artist Kasumi, commissioned and premiered
by American Composers Orchestra. Brouwer has received
numerous awards and fellowships including an Award in
Music from the American Academy of Arts and Letters, a
Guggenheim Fellowship, and an Ohio Council for the Arts
Individual Fellowship. In January 2006, Naxos released
a CD of her orchestral music called Aurolucent Circles
featuring Evelyn Glennie, solo percussionist and The Royal
Liverpool Philharmonic Orchestra with Gerard Schwarz
conducting.
A 2011 Guggenheim Fellow, Kasumi is internationally
celebrated as a leading innovator of a new art form
synthesizing film, sound, animation and video.
American art critic Douglas Max Utter says of Kasumi’s
work that it “sews contemporary sound and sight-bytes
like jewels to the pleated and gathered fabric of high
baroque structure.” Kasumi has won global acclaim
for her experimental films and video art in venues
worldwide: from Lincoln Center with The New York
Philharmonic to collaborations with Grandmaster Flash
and DJ Spooky. She performed and exhibited work at
Württembergischen Kunstverein Stuttgart and at the
Chroma Festival de Arte Audiovisual in Guadalajara,
Many of the country’s most distinguished ensembles
in New York, Seattle, San Francisco, Washington, D.C.,
Boston, and Cleveland regularly program her works. In
New York Brouwer’s music has been programmed by the
Chamber Music Society, American Composers Orchestra,
the Orchestra of St. Luke’s, and by the Cassatt and Cavani
String Quartets. Her works have also been played by the
Seattle, Dallas, Detroit, and Columbus Symphonies, among
others. She served as head of the composition department
and holder of the Vincent K. and Edith H. Smith Chair
in Composition at the Cleveland Institute of Music from
Kasumi
Mexico, and her work, BREAKDOWN, the 2010 Vimeo
Remix Award winner, premiered at Carnegie Hall
with the American Composers Orchestra. She was
commissioned to create a new work for the Cleveland
Museum of Art that premiered July 2011, was awarded
an EMPAC Dance Movies Commission 2009- 2010 by
The Jaffe Fund for Experimental Media and Performing
Arts and created an original film for performance with
The Cleveland Orchestra. A 2011 Creative Workforce
Fellowship recipient, Kasumi executive-produced
acclaimed filmmaker Kitao Sakurai’s AARDVARK, which
won the Special Mention Award for Best First Feature
at the 2010 Locarno Film Festival.
As a musician, Kasumi has twice been soloist at
Carnegie Hall and has recorded four LP albums; in
Japan, her soundtrack performance for OGINSAMA,
starring Toshiro Mifune, was nominated for a Japanese
Academy Award. She is the published author of two
books and dozens of journalism articles and is an artist
whose painting and print work is in collections in the
USA and Japan.
Next Atlantis
Sebastian Currier, composer
Pawel Wojtasik, video
The initial impetus for Next Atlantis came from a
commission by the Ying Quartet. As part of the
commission, they stipulated that the work should
relate to a geographic location in the United States. I
didn’t think of land, but of water. Because water is of
such significance, because the city has such character
and individuality, and because it is also so threatened
and vulnerable, I thought immediately of New Orleans
and the surrounding bayou which flows into the Gulf
of Mexico. Next Atlantis is not about the ravages of
Hurricane Katrina per se, but about the more far-
Next Atlantis
reaching interaction between human culture and the
natural world.
Another motivation was purely sonic: I’ve always loved
the sound of water and have had in mind for some
time to write a piece that weaved water sounds into a
musical fabric. And here the sound of water is especially
poignant, because for New Orleans water is both the lifeblood of the city and its potential destroyer. Aside from
the destructive force of hurricanes and large storms, a
stretch of land in the bayou the size of Manhattan is lost
to the encroaching sea every year. This is the result of
natural processes, man-made changes in the waterways
in and around the city, and global climate change.
In the process of composing this work, I discussed the
project with video artist Pawel Wojtasik and asked him if
he would be interested in making a video to accompany
my score. He agreed and, hence, there are two versions,
one purely musical, with string quartet and pre-recorded
samples; and the other, commissioned by the American
Composers Orchestra, with string orchestra, video, and
four-channel sound.
The overall character of Next Atlantis is one of sustained
quietude, peacefulness, and serenity, but with a sense
of emptiness and loss not far off. It is an elegy for a
future that must not happen: New Orleans has been
submerged under water. Sounds of water, both above
and below the surface, pervade the piece. The water
is an idealized water, often electronically sculpted into
melodies and chords. The string ensemble maintains
a dialogue with these liquid sounds. The instruments
imitate the sounds of water, and the water itself takes
on vestiges of the players’ harmonies. Intertwined with
these sounds is the faint, ghostly echo of fragments
from “Bourbon Street Parade,” here subdued into quiet
disembodied strains that rise to the surface like bubbles
from a sunken shipwreck. In the video images of water,
of the city, of ruin, of the extraordinary beauty of the
surrounding wetlands, and of affected residents wash
up on the screen. It is a new Atlantis, not of the mythic
past, but one of the too possible future.
—Sebastian Currier
Sebastian Currier is the 2007 recipient of the
prestigious Grawemeyer Award. His chamber music was
His Microsymph, a large-scale symphony that has been
squeezed into only ten minutes, was commissioned
by the American Composers Orchestra and premiered
at Carnegie Hall. It has also been performed by
such orchestras as the San Francisco Symphony,
the Gewandhaus Orchestra, Eos Orchestra, and the
National Symphony Orchestra, and has been recorded
by the Frankfurt Radio Orchestra with Hugh Wolff,
conductor.
Sebastian Currier
Credit: Jeffrey Herman
presented by the Berlin Philharmonic in 2007 and
2008, including 3 world premieres. In December 2009
he returned to Berlin again for the premiere of his
harp concerto Traces, which was commissioned by the
Berlin Philharmonic and performed by harpist MariePierre Langlamet under the baton of Donald Runnicles.
Traces received its US premiere in July 2010 at the
Grand Tetons Music Festival, again conducted by
Maestro Runnicles.
His music has been enthusiastically embraced by
violinist Anne-Sophie Mutter, for whom he wrote
Aftersong, which she performed extensively in the
US and Europe, including Carnegie Hall in New York,
Symphony Hall in Boston, the Barbican in London,
and the Grosses Festspielhaus in Salzburg. His violin
concerto, Time Machines, dedicated to Ms. Mutter, was
premiered by the New York Philharmonic in June 2011.
He has also written works that involve electronic media
and video. Nightmaze, a multimedia piece based on a
text of Thomas Bolt in which the protagonist dreams
he is rushing along a dark, enormous highway, where
strange road signs loom up only to disappear into the
night, has been performed by Network for New Music
and the Mosaic Ensemble.
Recordings include his Next Atlantis with the Ying
Quartet on Naxos, and “On the Verge” from Music
from Copland House, featuring his Grawemeyer
Award-winning Static, and other chamber works.
His “Quartetset/Quiet Time” album, recorded by the
Cassatt Quartet, says Anne Midgette for The New York
Times, “…distances the present from the past, causing
the listener to think about music itself.”
He has received many prestigious awards including the
Berlin Prize, Rome Prize, a Guggenheim Fellowship, a
fellowship from the National Endowment for the Arts,
and an Academy Award from the American Academy
of Arts and Letters, and has held residencies at the
MacDowell and Yaddo colonies. He received a DMA
from the Juilliard School; and from 1999-2007 he
taught at Columbia University.
Paweł Wojtasik is a filmmaker and video artist born
in Łód, Poland and currently residing in Brooklyn, NY.
Wojtasik lived in Tunisia before immigrating to the U.S
in 1972. He received an MFA from Yale University in
1996. From 1998 until 2000 Wojtasik was a resident at
Dai Bosatsu Zendo Buddhist monastery in the Catskill
mountains of New York State. Wojtasik’s internationally
recognized films and video installations are poetic
reflections on our environment and culture. The New York
Times calls Wojtasik “immensely talented.” Referring to
his video Dark Sun Squeeze (2003) Holland Cotter of
The Times said: “Pawel Wojtasik delivers the final word
on the absolute value of news, money, politics and just
about everything else.” Wojtasik’s work The Aquarium
(2006) deals with the destruction of the oceans; while
his 360° panoramic video installation Below Sea Level
(2009) concerns itself with the plight of New Orleans.
Next Atlantis, a collaboration with composer Sebastian
Pawel Wojtasik
Currier, also on the theme of New Orleans, had its world
premiere at Carnegie Hall on January 29th 2010. Also
in 2010 Wojtasik had a solo exhibition at Smack Mellon
in Brooklyn, NY, featuring a five screen video installation
“At the Still Point,” with footage shot in India and with
the soundscape by Stephen Vitielllo. The Village Voice,
naming it “best in show” commented: “this five-channel
project cycles through a series of startling images, shot
in Wojtasik’s long, mesmerizing takes.” Wojtasik’s Pigs
was included in the 2010 New York Film Festival, and at
the 2011 Berlin International Film Festival. The film had
its Asian premiere at the 2011 Hong Kong International
Film Festival, where it won the Grand Prize in the short
film category. Pawel Wojtasik was a featured artist of
the 2009 Robert Flaherty Film Seminar at Colgate
University. He is a recipient of the New York State Council
on the Arts individual artist grant for 2007 and 2010.
In 2011 Wojtasik was awarded a Fulbright fellowship to
make a feature-length film on the theme of labor in India.
Most recently Wojtasik has been named a 2012 New York
Foundation for the Arts fellow in Video/Film. His work is
represented by Video Data Bank.
our work to best serve the overall joining of music with
video.
I was immediately impressed by the fundamentally
‘natural’ qualities of Ean’s first video and the overall
‘urban’ flavors of his second video, which dictated the
quality of music that I wrote for each. The musical
structure for Touch (my subtitle for the music that joins
with the first video) incorporates fractal processes in
which a simple shape, the first three degrees of a major
(or minor) scale, is expressed in increasingly complex
temporal relationships. Following a brief transition,
the second movement, Electric, unfolds as a series of
passages comprised of several vernacular languages
(rock harmonic-progressions, blues lines and phrasing,
and Caribbean inflected rhythms) superimposed upon a
grid that remains from Touch, which evokes a surreal and
unusual landscape that I felt matched the tenor of the
video sequence. Although the surface of this movement
is in stark contrast to the first, there is a common
rhythmical structure of six pulses against five, or six
followed by five, that is consistently expressed across
both movements and serves to connect rhythmical
elements in each video that I felt were similarly present.
Ean White’s preference is for the video to be mixed realtime during performance. I share in his preference as it
enables the video to participate as an active performer,
allowing the musical ensemble to be free from the
constraints of a ‘fixed-video’ element.
Michael Gandolfi’s earliest musical involvement was
in rock and jazz improvisation beginning at age eight
as a self-taught guitarist. As his improvisational skills
developed he became increasingly interested in music
composition and began formal study in his early teens.
He received the B.M. and M.M. degrees in composition
from the New England Conservatory of Music, as well as
fellowships for study at the Yale Summer School of Music
and Art, the Composers Conference, and the Tanglewood
Music Center.
As Above
Michael Gandolfi, composer
Ean White, video
As Above is a music and video collaboration commissioned
by and dedicated to the Catherine and Paul Buttenwieser
Foundation for Collage New Music. In 2004 I viewed a
spectacular video by Ean White composed of sights and
sounds from ‘The Big Dig’ that was screened at Harvard
University. Soon afterwards I approached Ean about
entering into a collaborative venture and he immediately
presented me with raw footage for each of the videos
in a newly conceived diptych. I responded with musical
sketches and our collaboration was quickly underway.
Our method was quite interactive, as we each modified
As Above
Conservatory of Music and the Tanglewood Music Center.
He was a visiting lecturer on music at Harvard University
in 2002, and held a similar position there from 19961999. He is listed in the New Groves Dictionary of Music
and Musicians.
Ean White is a multimedia artist working primarily with
large-scale sound installations and real-time video
performance. Recently, he has been creating new pieces
for the centennial of the “Bread and Roses” strike.
Michael Gandolfi
The video for As Above is designed for live performance
only. Instead of being a fixed video track to which the
conductor must march in lockstep, it is to be produced in
real time as part of the ensemble. The sound of specific
instruments also control some aspects of the video
performance. A small projection surface, no more than
two meters in height, is placed on stage directly behind
the musicians to reinforce the live, musical nature of the
performance and to minimize any notion of the video
being some kind of omniscient spectacle.
Mr. Gandolfi is the recipient of numerous awards including
grants from the Fromm Foundation, the Koussevitzky
Music Foundation, the John Simon Guggenheim
Foundation, the American Academy of Arts and Letters
and the Massachusetts Cultural Council. His music has
been performed by many leading ensembles including
the Boston Symphony Orchestra, the BBC Symphony
Orchestra, the San Francisco Symphony Orchestra,
the Tanglewood Music Center Orchestra, the Orpheus
Chamber Orchestra, the Saint Paul Chamber Orchestra,
the Los Angeles Chamber Orchestra, Nieuw Sinfonietta
Amsterdam, the Pro Arte Chamber Orchestra and the
Boston Modern Orchestra Project.
Mr. Gandolfi’s music has been recorded on the Deutsche
Grammophon, CRI, Innova and Klavier labels, and USMB
Recordings. He is a faculty member of the New England
THE ARTISTS
AMERICAN COMPOSERS ORCHESTRA
American Composers Orchestra (ACO), founded in
1977, is the only orchestra in the world dedicated to the
creation, performance, preservation, and promulgation
of music by American composers. ACO makes the
creation of new opportunities for American composers
and new American orchestral music its central purpose.
ACO identifies today’s brightest emerging composers,
champions prominent established composers as well
as those lesser known, and increases awareness of the
infinite variety of American orchestral music, reflecting
geographic, stylistic, and temporal diversity. ACO
also serves as an incubator of ideas, research, and
talent and as a catalyst for growth and change among
orchestras, and advocates for American composers and
their music. ACO has performed music by nearly 600
American composers, including 200 world premieres
and commissioned works. ACO maintains an unparalleled
range of activities, including an annual concert series at
Carnegie Hall, commissions, recordings, broadcasts and
streaming, educational programs, new music reading
sessions, composer residencies and fellowships, as well
as special projects designed to advance the field. More
information is available at americancomposers.org.
GEORGE MANAHAN, CONDUCTOR
In his fourth season as Music Director of the American
Composers Orchestra, the wide-ranging and versatile
George Manahan has had an esteemed career embracing
everything from opera to the concert stage, the traditional
to the contemporary. In addition to his work with ACO
this season, Manahan continues his commitment to
working with young musicians as Director of Orchestral
Studies at the Manhattan School of Music as well
as guest conductor at the Curtis Institute of Music.
Ean White
music of our time has enriched and enabled Concert
Music both at home and abroad.” His Carnegie Hall
performance of Samuel Barber’s Antony and Cleopatra
was hailed by audiences and critics alike. The New York
Times reported, “the fervent and sensitive performance
that Mr. Manahan presided over made the best case for
this opera that I have encountered.”
George Manahan’s wide-ranging recording activities
include the premiere recording of Steve Reich’s Tehillim
for ECM; recordings of Edward Thomas’s Desire Under
the Elms, which was nominated for a Grammy; Joe
Jackson’s Will Power; and Tobias Picker’s Emmeline.
As music director of the Richmond Symphony (VA) for
twelve years, he was honored four times by the American
Society of Composers and Publishers (ASCAP) for his
commitment to 20th century music.
ANNE MANSON, CONDUCTOR
George Manahan
Manahan was Music Director at New York City Opera
for fourteen seasons. There he helped envision the
organization’s groundbreaking VOX program, a series
of workshops and readings that have provided unique
opportunities for numerous composers to hear their new
concepts realized, and introduced audiences to exciting
new compositional voices. In addition to established
composers such as Mark Adamo, David Del Tredici, Lewis
Spratlan, Robert X. Rodriguez, Lou Harrison, Bernard
Rands, and Richard Danielpour, through VOX Manahan
has introduced works by composers on the rise including
Adam Silverman, Elodie Lauten, Mason Bates, and David
T. Little.
In May 2011 Manahan was honored by the American
Society of Composers and Publishers (ASCAP) for his
“career-long advocacy for American composers and the
Anne Manson is recognized throughout the world for her
conducting achievements. She was the first woman to
conduct at the Salzburg Festival, where she led the Vienna
Philharmonic and a cast that included Samuel Ramey and
Philip Langridge in a production of Boris Godunov which
met with great critical acclaim. Ms. Manson is one of only
three women to have been appointed Music Director of a
leading American symphony orchestra, having served as
Music Director of the Kansas City Symphony from 1999 to
2003. She launched her career in 1988 as Music Director
of the London-based Mecklenburgh Opera, where over a
span of eight years she programmed operas ranging from
Mozart to 20th-century rarities, while commissioning
world premieres from a host of contemporary composers.
Anne Manson is distinguished by her dynamic podium
presence, stylistic versatility, and ability to draw
audiences into the inner world of the composer. A
reputation for excellence in the central German repertory,
combined with a passionate advocacy of music of
the present, has led to invitations leading orchestras
worldwide. Ms. Manson’s opera repertoire ranges from
the 17th to the 21st century.
BRADLEY LUBMAN, CONDUCTOR
Brad Lubman, conductor/composer, is founding coArtistic Director and Music Director of Ensemble Signal,
hailed by The New York Times as “one of the most vital
groups of its kind.”. Since his conducting debut in 1984,
he has gained widespread recognition for his versatility,
commanding technique, and insightful interpretations.
His guest conducting engagements include major
orchestras such as the DSO Berlin, Netherlands Radio
Kamer Filharmonie, WDR Symphony Cologne, Cracow
Philharmonic, Bavarian Radio Orchestra (Bayerischen
Rundfunks), Stuttgart Radio Symphony, Dresden
Philharmonic,
Deutschland Radio Philharmonie,
American Composers Orchestra, and the St Paul
Chamber Orchestra, performing repertoire ranging from
classical to contemporary orchestral works. He has
worked with some of the most important ensembles
for contemporary music, including London Sinfonietta,
Ensemble Modern, Klangforum Wien, musikFabrik, Los
Angeles Philharmonic New Music Group, and Steve Reich
and Musicians.
He has recorded for Albany, BMG/RCA, Bridge,
Cantaloupe, CRI, Kairos, Koch, Mode, New World,
Nonesuch, Orange Mountain, and Tzadik. Lubman’s
own compositions have been performed in the USA and
Europe and can be heard on his CD, insomniac, on Tzadik.
Lubman is Associate Professor of Conducting and
Ensembles at the Eastman School of Music since 1997,
where he directs the Musica Nova ensemble, and is on
the faculty of the Bang-on-a-Can Summer Institute. He is
represented by Karsten Witt Musik Management.
Orchestra Underground: A-V
American Composers Orchestra
244 West 54th Street, Suite 805
NYC, NY 10019
www.americancomposers.org
[email protected]
212.977.8495
1 BREAKDOWN Margaret Brouwer / Kasumi . . . . . . . . . . . . . . . . . . .18:42
George Manahan, conductor
2 Next Atlantis Sebastian Currier / Pawel Wojtasik . . . . . . . . . . . . 18:35
Anne Manson, conductor
3 As Above Michael Gandolfi / Ean White . . . . . . . . . . . . . . . . . . . . . . . . . 9:34
Bradley Lubman, conductor
Cover Image: BREAKDOWN, Bouwer/Kasumi
ACO’s recording initiative is made possible
with the support of the Aaron Copland Fund
for Music.
Margaret Brouwer and Sebastian Currier
commissioned and premiered by American
Composers Orchestra with the support of the
Francis Goelet Charitable Lead Trusts.
Brouwer recorded live on February 20, 2009. Currier recorded live on January 30, 2010.
Gandolfi recorded live on October 15, 2006. All pieces recorded at Annenberg Center for the
Performing Arts in Philidelphia, PA.
Copyright © 2013