Track Listing
1. Moonlight Serenade
2. King Porter Stomp
3. Little Brown Jug
4. In the Mood
5. Tuxedo Junction
6. Pennsylvania 6-5000
7. String of Pearls, A
8. Elmer's Tune
9. Chattanooga Choo-Choo
10. Don't Sit Under the Apple Tree (With Anyone Else But Me)
11. American Patrol

Personnel includes: Glenn Miller (leader); Ray Eberle, Marion Hutton, Tex Beneke, The Modernaires (vocals).

Recorded in New York and Hollywood, California between September 27, 1938 and April 2, 1942. Includes liner notes by Ira Gitler.

Francesco Cavalli
ERCOLE AMANTE

Ercole – Luca Pisaroni
Iole – Veronica Cangemi
Giunone – Anna Bonitatibus
Illo – Jeremy Ovenden
Deianira – Anna Maria Panzarella
Licco – Marlin Miller
Nettuno / Tevere / Spirit of Eutyro – Umberto Chiummo
Bellezza / Venere – Wilke te Brummelstroete
Cinzia / Pasitea / Spirit of Clerica – Johannette Zomer
Mercurio / Spirit of Laomedonte – Mark Tucker
A Page / Spirit of Bussiride – Tim Mead

Netherlands Opera Chorus
Concerto Köln
Ivor Bolton, conductor

David Alden, stage director

Recorded live from the Het Muziektheater, 2009.

Bonus:
- Illustrated synopsis.
- Cast gallery.
- Behind the scenes with Johanette Zomer.
- Behind the scenes with Luca Pisaroni.
- The making of Ercole Amante.

Picture format: NTSC 16:9
Sound format: PCM Stereo and 5.0
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian, Dutch
No. of DVDs: 2

This is an essential collection of West Coast music that San Francisco’s Other Minds founder and longtime KPFA radio host Charles Amirkhanian called “a classic anthology of American new music.” Although bound together by a common concern with music’s basic sensuality, the pieces collected here are wide-ranging in style—process-driven works, through-composed pieces, ambient soundscapes, and music that glances in the directions of world music and avant-pop. In instrumentation, the music is also wide-ranging—from a celesta solo to a marimba quartet to a player piano solo to works for speaking voices and wineglasses to music for piano and bullroarer to music for pedal steel guitar accompanied by a choir of banjos to relatively traditional instrumentions. This anthology has something for everyone—and its incautious eclecticism is no doubt one of the reasons for its long-resonating popularity. International Record Review wrote, “Throughout, the music communicates the excitement of the new, the fresh, the experimental: most of the pieces convey a sense of delight and wonder in the sheer creative freedom of their approach to sound—an approach radically loosened from old rhetorics and rooted instead in a belief in the almost unlimited potential of texture and color…. a trove of small-scale pleasures and surprises, in which a sense of fun, curiosity, and the thrill of invention are never far away.” All-Music Guide wrote, “As avant-garde music at the turn of the century seemed confined to the extremes of noise and stamina on the one hand and the post-Feldman search for disappearance of sound on the other, one feels uncertain about how to approach the loveliness of the music on Cold Blue. Recommended.” And The Wire magazine called it “A rewarding snapshot of composition in the decade or so leading up to 1984… Cold Blue anticipates the new tonalities that characterize the post-minimal generation.”

Like Volumes 1 and 2, Volume 3 of Charles Wuorinen: Music of Two Decades consists in large part of recordings that appeared first as LPs. One doesn't drape terms like invaluable as bunting. For exotic example, the Concerto for Amplified Violin and Orchestra (Volume 2) appeared first on University of Iowa Press vinyl. Not exactly your household name. (I refer to the label. Were Wuorinen's to become such, I'm sure he'd begin wondering where he went wrong. Another performance by violinist Paul Zukovsky, Inbal conducting the Orchestra of the Hessian Radio, may some day be released.) As an instance of nlh degree rarity, Easley Blackwood's own recording of his live performance of Wuorinen's Piano Variations dwelt prior to Volume l's appearance as a 7'/2-i.p.s. tape on Charles Wuorinen's library shelves. Volume 2's Grand Bamboula, Chamber Concerto, and Ringing Changes got good distribution as Nonesuch LPs which, as a format the label has long since abandoned, have been long out of print. As further reason to applaud these Music & Arts Wuorinen discs, a succession of solid performances rates soundwise from adequate to excellent. In other words, the bad news simply isn't. So, to put conclusions first, as gratifyingly large as a “difficult“ living composer's CDiscography already is, the collector with an interest in the music of his time and place cannot afford to ignore these good resurrections. (Of all the one-man operations I admire—I offer the term as an alternative to “little“ label, which in terms of long catalogs many are not—Fred Maroth's Music & Arts Programs of America, Inc., remains among the more endearingly hydra-headed.)

It's a lot easier to tell you what the electronic piece, Time's Encomium, isn't: it isn't imitative of nature or acoustic musical instruments. If the point seems inappropriate or trivial, I remind the reader that a great deal of synthesized sound appears to exist for these kitsch aspirations. So then, while Times's Encomium in this narrow regard falls on the ear as abstraction pure but far from simple, I urge the reader not to conflate abstract with offputting. The piece abounds with playful energies. When disparate sounds interact as friskily as they do here, play of one kind or another, whether or not one knows the game's name, is obviously the thing, Wuorinen is the kind of cerebral practitioner who requires one's attention in a state of openness. We do not hear Time's Encomium transpiring toward a direction. The logic is rather that of extraordinary fireflies of various heft, hue, and gravitas. As anyone who's spent a country night outdoors, a lightshow's enjoyment need not connect with those forces that stage it. The listener is content (if he's wise) to perceive the co.nposer as firefly or, better yet, the firefly's First Mover. Wuorinen composed the work between 1968-69 at the Columbia-Princeton Electronic Music Center In New York.“ . . . The RCA synthesizer . . . is prejudiced by design toward 12-tone equal temperament . . . [I]f one accepts the limitation as a boundary condition . . . it ceases to be a problem. . . . Afterwards, I made the large-scale structure by processing the synthesized materials in one of the [center's] analog studios. Thus the work consists of a core of synthesized music, most of which appears in Part I, surrounded and interlarded with analog-studio transformations of that music. The synthesized [can be] identified by its clarity of pitch. . . . The processed almost always contains reverberation. Thus metaphorically, the listener stands in the midst of the synthesized music, which presents itself . . . with maximal clarity; and stretching away from him, becoming more and more blurred in detail, the various transformations . . .“ I assume that Wuorinen speaks in “standing] in the midst“ of the four-channel original, which one hears to his regret as a two-channel mixdown. We are back on my Fanfare hobby horse.

In no way strange to say, Wuorinen's Piano Sonata (No. 1, 1969) appears on its surface to share in those compositional impulses and schemata that yielded Time's Encomium. This seems to me especially true of the music's fast-paced, angular energies. Of particular interest is the sonata's performer, the late Robert Black. As others have for David Tudor, Wuorinen composed an obviously difficult work in large measure as a tribute to Black's strengths and sympathies. (Because music absorbs its background, we tend to overlook an executant's sometime part in a work's conception, no less its successful performance—which Black's certainly sounds to be.)

Wuorinen's comments about his here handsomely performed First String Quartet have the ring of a manifesto. “The [quartet of 1971] reflects fundamental concerns . . . with questions of large-scale form, in particular the issue of an appropriate developmental—or 'directed'—structure suited to a non tonal environment. I had already become . . . impatient with [much of new music's directionlessness] and wanted to establish formal procedures that would allow local flexibility while solidly undergirding a musical progress analogous to the very powerfully directed structure of tonality [my italics].“ Wuorinen then gives a summary of his solution, which need not detain us here. Enough to know what was then on the mind that remains aloof from a world, in too large part, of half-baked juvenalia. The String Quartet (No. 1) plays vis-à-vis the electronic and solo-piano work a tad richer in lyrical interest, in acknowledgement perhaps of a four-string ensemble's native soulfulness. The insert mentions an earlier Music & Arts CD of this Wuorinen quartet, with one of Milton Babbitt's, as an inferior transfer. While I haven't that disc to compare, the present digitization of an analog master sounds very good indeed. Again, the three volumes of this Wuorinen edition—there are no immediate plans for a fourth—address a need. All three volumes heartily recommended.

-- Mike Silverton, FANFARE [3/1997]

Cassandra Wilson's stunning third album, now available on vinyl! On Blue Skies, Cassandra moves into the arena of jazz standards with fluid ease, never failing to put her own stamp on these classic tunes. 180-gram vinyl, analogue recording, analogue remastered, folie-cutting. CD release topped Billboard's Jazz Album Chart at #1 back in 1988!

In the time of Madame de Pompadour, the hurdy-gurdy, like the musette, enjoyed a great success. It was considered to be on a level with other instruments and, as can be seen in various paintings, was highly regarded by the ladies of the aristocracy. Several books of instruction for the instrument were published, one of which was Michel Corrette's La belle vielleuse; virtuoso players such as Danguy and Dupuits extended its playing techniques to their limits. The instrument's charm was sung by various poets whose words were then set as cantatas. The unknown works that constitute this recording place it firmly in the French court of the time with its stylized pastoral diversions.

For L’Invisible, like his other two most recent operas Bernarda Alba’s House and Medea, Aribert Reimann has turned to a text of world literature, adapting it himself as his own librettist. With it, he returns to his “home” opera house the Deutsche Oper Berlin. Four of his stage works were commissioned by that opera house and the world premiere of his new, ninth opera was also given there. It was staged by Vasily Barkhatov, one of the most interesting Russian directors of his generation, who made his debut at the opera house on Bismarckstraße after having worked at the Moscow Bolshoi Theatre and the Mariinski Theater in St. Petersburg. The premiere was conducted by the Principal Conductor himself, Donald Runnicles.

Classical Music

Modern Fairy Tales, recorded in 2014 for Centaur Records, features oboist Courtney Miller accompanied by one of three pianists on six works of chamber music written in the 19th, 20th and 21st c. by, among others, B�la Bart�k and Peter Schickele. She travels throughout the US as a solo, chamber and orchestral musician, playing both prestigious as well as smaller, more intimate venues where she enjoys more audience interaction.

Winner of the 2002 Grawemeyer Award for Music Composition, 1998 Pulitzer Prize, and 2011 Nemmers Award, Aaron Jay Kernis is one of America’s most honored composers. His music appears prominently on concert programs worldwide, and he has been commissioned by America’s preeminent performing organizations and artists, including the New York Philharmonic, San Francisco, Toronto, and Melbourne (AU) Symphonies. The Viola Concerto – composed for the soloist Paul Neubauer – was in its first instance inspired and informed by the viola music of Robert and Clara Schumann, but takes on a number of other influences. Taking the performers own interest in folk music as an influence too, the final movement A Song My Mother Taught Me is based on the well-known Yiddish song Tumbalalaika. Dreamsongs also follows folk influences, following inspiration from sources including aboriginal ‘dreamsongs’ and the West African djembe drum. A virtuosic work, it was developed in collaboration with the cellist Joshua Roman who features as soloist in this recording. Conductor Rebecca Miller leads the Royal Northern Sinfonia in the final work Concerto with Echoes, inspired by the Sixth Brandenburg Concerto.

Every Friday for two years between 1942 and 1944, a group of teenage boy prisoners in the Terezin concentration camp shared their poems, stories and artwork in a secret magazine they called Vedem. Most of those boys perished in the Holocaust.

Described by the London music publisher as 'Very Improveing and Delightful to all lovers of that instrument' The first Part of the Division Flute was originally issued for the Baroque treble recorder in 1705. Murphy's love of the recorder inspired her to record some of the best known recorder music, as well as some of the most neglected, from a collection that has never been fully recorded before. A fantastic disc of musicians at the forefront of early music today.

Winner of the coveted 2002 Grawemeyer Award and one of the youngest composers ever to be awarded the Pulitzer Prize, Aaron Jay Kernis is among the most distinguished musical figures of his generation. Conceived as a concerto for toy piano and orchestra, and with touches of Indonesian gamelan, French lyricism and jazz, Three Flavors appears here in it's final version, adapted by soloist and long- term collaborator Andrew Russo. Commissioned for renowned violinist James Ehnes, the introspective Two Movements (with Bells) is a memorial to the composer's father with echoes of blues singing and improvisatory impetuousness, while the virtuoso Superstar Etude No. 3 is his homage to Gershwin and the blues. The Pulitzer Prize-winning composer Aaron Jay Kernis (b. 1960) studied composition with American heavyweights John Adams, Jacob Druckman, Morton Subotnik and Charles Wuorinen. He has developed a truly eclectic musical language over time, initially rigorous but evolving toward a new transparency and emotional eloquence. He incorporates influences of Latin rhythms, jazz and rap into his work as willingly as the harmonic worlds of the Romantic masters, the Renaissance and Hildegard von Bingen.

BIG BAND CLASSICS (1931-1940)

Housewives' Choice: Hits of the 50s

Classical Music

Classical Music

In 1999-2000, Niels-Henning �rsted Pedersen was given the chance to make a studio recording on the occasion of Duke Ellington's 100th birthday. For this duo session, NH�P chose Mulgrew Miller, whom he had heard, but never played with. Both were at the height of their careers, giants in their own right, and with totally different backgrounds. NH�P was born into the Danish folk high-school milieu that promoted freedom of thought and had a prolific song tradition. Growing up as the child of plantation workers in Greenwood, Mississippi, Mulgrew had his roots in gospel music and the racially divided USA of the 1960s. A Duke Ellington connoisseur, he had played with the Ellington Orchestra under direction of Mercer Ellington. Recorded live, all the tracks on this never before released concert remain in the same order as the two masters chose that evening at the North Sea Jazz Festival. They are at the peak of their abilities, combining new version of the Ellington songs they had previously recorded together with jazz standards. Niels-Henning and Mulgrew have sadly passed away, but are remembered as intelligent and insightful musicians on and off stage, but also as unconditionally generous mentors and influences for generations of musicians after themselves.

In his Mass for Double Choir, Frank Martin’s use of a motet in the style of J.S. Bach juxtaposed with his sonic and exotic harmonic palette of the early 20th century is a formula for exciting music. In addition to this choral masterwork, this collection brings together meditative and sacred music from diverse traditions. This release also features three world premiere recordings: This first recording of Anders Ohrwall’s arrangement of the beloved Swedish folk tune Fabodpsalm fran Dalarna is distinguished by performances by David Kim, concertmaster for The Philadelphia Orchestra, and soprano Sherezade Panthaki, an acknowledged star in the early music field. The much-anticipated release of Lux Surgit Aurea, which was composed by Bernat Vivancos for the Westminster Choir to perform at the 2017 World Symposium on Choral Music in Barcelona is also included here, as well as the first SATB recording of Joel Philips’ Little Lamb, a setting of the poem by William Blake.

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Review excerpt of a May Westminster Choir concert performance of the Mass:

Frank Martin’s “Mass for Double Choir” is such a monumental and strenuous piece that few choirs can successfully perform it. True to form the choir made the work their own. The dynamic contrast went from hushed whispers to bellows that were never strident or ear-piercing. Striking dissonances dissolved into settled harmonies; running passages were as clear as a coloratura soprano; basses droned beneath Medieval-like melodies that contrasted with the Schoenberg-like chords that sometimes peppered the piece.

– David Friddle, Post & Courier (Charleston, SC)

When it comes to Mozartian perfection on the opera stage, one needn't always seek it in Milan, Vienna, Salzburg or New York! At the Sferisterio Opera Festival in the central Italian city of Macerata, a rapt audience was treated to a production of Don Giovanni "that will enter the annals of opera" (ForumOpera. Com). This magnificent reading of Mozart's timeless masterpiece sweeps the viewer into a libertine, 18th- century society dominated by sensuality and erotic impulses. They are acted out on the stage's main prop, a large, unmade bed, not only by Don Giovanni, but also by just about everyone else in the "nearly faultless cast" (ForumOpera. Com). In his role debut as the title hero, Ildebrando D'Arcangelo is "incandescent" (Gazzetta die Parma) and "doesn't do Don Giovanni; he is the Don. Unsurpassable"(24 Ore).

Personnel: Lynn Allison, Gene Steck, Steve Steck, Johnny Desmond, Artie Malvin, Crew Chiefs, The Glee Club (vocals); Carmen Mastren (guitar); Nathan Kaproff, George Ockner, Dave Herman, Milton Edelson, Richard Motylinski, Earl Cornwell, CPL. Gene Bergen, David Sackson, Alfred Aulwurm, Fred Ostrovsky, Ernest Kardos, Joseph Kowalewski, Carl Swanson, Harry Katzman (violin); Dave Schwartz, CPL. Henry Brynan, Manny Wishnow, Stanley Harris (viola); CPL. Morris Bialkin, Bob Ripley (cello); Peanuts Hucko (clarinet, alto saxophone); Manny Thaler (bass clarinet, alto saxophone, baritone saxophone); Freddy Guera, Hank Freeman (alto saxophone); Jack Ferrier, Vince Carbone (tenor saxophone); Chuck Gentry (baritone saxophone); Whitey Thomas, Jack Steele, Zeke Zarchy, Bernie Privin, Bobby Nichols (trumpet); Addison Collins (French horn); Nat Peck, Larry Hall , Johnny Halliburton, Jim Harwood , Jimmy Priddy (trombone); Jack Russin, Mel Powell (piano); Frank Ippolito (drums).

Liner Note Author: Geoffrey Butcher.

Photographer: Edward F. Polic.

Arrangers: Ralph Wilkinson; Glenn Miller; Jerry Gray; Steve Steck; Norman Leyden; Bill Finegan; Mel Powell.

This new and highly-anticipated release of three symphonies of Franz Joseph Haydn follows the Royal Northern Sinfonia and Rebecca Miller's acclaimed recording of the works of CPE Bach with the Orchestra of the Age of Enlightenment: "Self-critical perspective is clearly not a problem for these artists... The unfurling description of a lover's kisses permit all kinds of glorious opportunities for the singers' seemingly telepathic understanding for chiaroscuro, impeccable tuning and innate grammatical sense" (Gramophone, Editor's Choice, May 2015)

In ‘This Land Sings,’ Grammy Award-winning composer Michael Daugherty has created an original musical tribute to the singer-songwriter and political activist Woody Guthrie (1912-1967). Traveling the backroads of America from coast to coast with a guitar and harmonica, Woody Guthrie performed folk songs of love, wandering and social justice during the Great Depression and the Second World War. Daugherty has composed his own original songs and instrumental interludes that give haunting expression, ironic wit and contemporary relevance to political, social and environmental themes from Guthrie’s era. Under the baton of Grammy Award-winning conductor David Alan Miller, the Albany Symphony’s new music ensemble Dogs of Desire, joined by soprano Annika Socolofsky and baritone John Daugherty, give a poignant and rousing performance.

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REVIEWS:

For the most part, Daugherty doesn’t set Guthrie’s tunes at all, although This Land Is Your Land turns up in a couple of numbers. Instead, he writes words of his own and draws on texts from elsewhere in the progressive strain of thought, dating back to Mark Twain, that animated Guthrie’s production. It all adds up to something quite unlike anything anybody else has done before. Listeners are going to have their own reactions, but this is original stuff, ideally and flexibly performed.

– AllMusic Guide (James Manheim)

Michael Daugherty traveled around the dust bowl of the United States before commencing the work, savoring the backdrop to Guthrie’s life as a writer and performer. It has resulted in an overture and sixteen vocal and instrumental tracks, the words for the songs written mostly by Daugherty. They are funny; they question life and our existence; suffering and love, all expressed in a mix of classical, folk, and jazzy rhythms. It is certainly a different experience that takes the composer down a new road, particularly so in the early part of the score. The excellent punchy sound is ideal for the work. Do listen to it.

– David''s Review Corner (David Denton)

Naxos have come a long way in three decades. Their product is no longer as cheap as chips, but they have few rivals when it comes to yearly volumes or breadth of repertoire. I’m particularly grateful for some of their long-running series, especially those devoted to Americana and music for wind band. I’ve reviewed a fair few albums from both strands, a number of which contain world premieres or works otherwise unknown to me. At the same time, I’ve noticed a general improvement in recording quality, with some newer releases sounding as good as those offered by premium-price labels.

The American Classics project is probably the one I value most, not least for its ability to surprise and stimulate. And just as Naxos’s technical standards have risen, so too has the quality of ensembles and conductors featured. This pleasing state of play is epitomised by a very recent Michael Daugherty album, Trail of Tears: three brand-new concertos, one with the peerless percussionist Dame Evelyn Glennie, music and musicians well served by fine sonics. As it happens, that release introduced me to the conductor David Alan Miller, who also directs this mixed programme of 20th- and 21st-century works by Carl Ruggles, Steven Stucky and John Harbison.

Ruggles’ Sun-Treader, which takes its title from Robert Browning’s poem, Pauline, is a technically rigorous construct that’s also very accessible. Although the piece was premiered in Paris in 1932, it had to wait another 34 years for its first US performance, with Jean Martinon and the Boston Symphony. And while the National Orchestral Institute Philharmonic isn’t exactly a household name – it’s an ad hoc band, drawn from members of the National Orchestral Institute each June – they are highly accomplished players, for whom this music holds no terrors.

Full, firm, and remarkably forensic, Miller’s Sun-Treader is more detailed and, yes, more colourful than Tilson Thomas’s. Producer-engineer Phil Rowlands’ spacious, recording certainly helps to ‘open up’ a work that can seem impenetrable at times. All of which adds up to a thoughtful, exploratory performance that’s very different from MTT’s more urgent, intensely dramatic one. The latter still sounds pretty impressive – the visceral timps a special treat – but I daresay an up-to-date remaster, similar to that provided for the recent BD-A of William Steinberg’s Planets and Zarathustra, would improve things even more. Top-notch accounts of Charles Ives’s Three Places in New England and Walter Piston’s Symphony No. 2 complete this bona-fide classic.

Steven Stucky’s second Concerto for Orchestra, premiered by the LA Philharmonic in 2004, received the Pulitzer Prize for music a year later. In his liner-notes, Robert Lintott says the piece is ‘rife with musical puzzles’, although I doubt most listeners will be aware of the composer’s compositional tricks and tributes. More apparent is Stucky’s homage to the genre – Bartók’s seminal concerto springs to mind – with soloists and various instrumental groups (‘combos’) allowed to strut their stuff. I can well imagine performers relishing both the good writing and the composer’s seemingly boundless good nature.

That’s certainly the case here, with Miller a sure and steady guide; indeed, he takes us on a fascinating trip, pointing out so much of interest along the way. What a tumble of tantalising ideas and sonorities, and how superbly rendered they are in this fine recording. Also, singly and severally, the players respond to this clever and compelling score with a zeal that most composers can only dream of. And as much as I admire Lan Shui, his performance lacks the chutzpah that makes Miller’s seem so rum and rakish. That said, the sound is refined, the playing light and luminous. The all-Stucky programme, which includes Dame Evelyn in Spirit Voices, is attractive, too.

The headline act is the Harbison symphony, commissioned by the Seattle SO for their centennial celebrations in 2004. In five movements – but not composed in that order – the work’s opening Fanfare reminds me of Leonard Bernstein in St Vitus mode. What exhilarating music this is, and how joyfully executed. The gnarly Intermezzo, with its gently shimmering gong in the background, is similarly engaging. The central Scherzo is catchy – goodness, there’s a lot going on here – and the Threnody has something of late Mahler about it. That said, Harbison’s ‘voice’ is very much his own, the Finale gaunt but not emaciated. Pinpoint playing and a strong pulse predominate.

This is a riveting work, delivered with deftness and dynamism, and I commend it to those looking for a way into the composer’s symphonic output. And given the impassioned authority of this performance, I’m tempted to forgo comparisons.

So often in comparative reviews I sign off with comments like: ‘This newcomer is pretty good, but…’. I’m happy to report that, with the possible exception of Miller’s still excellent Sun-Treader, there’s nothing to criticise here. Yes, Naxos really have come a long way since 1987. And that goes for this series, too; it just gets better – and becomes more valuable – with each new instalment.

Thoroughly modern Miller; plenty more, please.

– MusicWeb International (Dan Morgan )

The British composer Robin Stevens is a great talent waiting to be discovered by the global music community. His varied, stimulating and expressive work is exemplified by this collection of music for wind instruments, ranging from the jolly and accessible (yet very difficult to play) Concert Rondoto the darker, deeper and meaningful Grief’s Portrait. Stevens has a brilliant touch, and also is an excellent pianist, cellist and guitarist and plays all three instruments here, alongside some of the foremost instrumentalists from the musical hotspot of Manchester, England: John Bradbury (principal clarinet, BBC Philharmonic); John Turner (recorderist: Academy of Ancient Music etc.); Richard Simpson (principal oboe, BBC Symphony), Janet Simpson (former principal keyboardist, Hallé Orchestra); and freelance soloists Sarah Miller (flutes);Helen Peller (bassoon) and Lindsey Stoker (horn).