Greatest ever Danish pianist in rare releases. With this eighth volume, Danacord's series The Great Danish Pianist Victor Schioler is brought to it's conclusion. The series contains the greater part of Schioler's studio recordings, supplemented by a selection of live performances and productions made for Danish Radio, and it encompasses, with a single exception, all the works he recorded in the studio. Where he recorded the same work on more than one occasion, one version has sometimes been included and in other cases two or three. Volume 8 presents Schioler in three capacities: as solo pianist, chamber musician and concerto soloist. CD 1 opens with Beethoven's Cello Sonata Op. 69 and Brahms's Cello Sonata in F major, both featuring Schioler in inspired and sympathetic partnership with the 22-year-old Erling Blo¨ndal Bengtsson, who had by 1954, when these recordings were made, already established a considerable reputation. The two cello sonatas are followed by solo piano music, again by Beethoven and Brahms. First comes the Moonlight Sonata, which Schioler recorded no fewer than three times: in 1929, 1942 and 1951. The first and last of these recordings-both outstanding performances-are interpretatively quite close to one another: a slow and dreamlike first movement, a restrained and delicately played middle movement taken at a moderate tempo, and finally a dramatic and stormy yet perfectly controlled finale. The 1942 recording presented here is no less masterly, but differs markedly from the 1929 and 1951 versions in it's more classical approach, with a considerably faster and far less inflected first movement. Fu¨r Elise, which follows immediately afterwards, is not generally counted among Beethoven's major works, popular though it is. Yet Schioler's delicate touch and poetic phrasing elevate this modest work into a little masterpiece. Victor Schioler Volume 1 DACOCD 491-492 Victor Schioler Volume 2 DACOCD 782-783 Victor Schioler Volume 3 DACOCD 832-833 Victor Schioler Volume 4 DACOCD 867-868 Victor Schioler Volume 5 DACOCD 872-873 Victor Schioler Volume 6 DACOCD 962-963 Victor Schioler Volume 7 DACOCD 987-988

Until thirty years ago, the Russian performing school largely overlooked the principles of playing historical instruments. However, with the fall of the "Iron Curtain" of traditional approaches, a newfound freedom emerged - not only in daily life but also in the interpretation of early music. Today, as we strive to preserve this cultural openness, we look back to the 18th century - an era when Russia made an extraordinary leap into the world of instrumental art in a remarkably short period of time. Ivan Khandoshkin, a brilliant violinist and composer, became the pivotal figure of this breakthrough. Born in 1747, Khandoshkin was an elder contemporary of W.A. Mozart and a younger contemporary of J. Haydn. Young Ivan's extraordinary talent led him, at the age of thirteen, to join the court orchestra of Emperor Peter III, a passionate music lover and amateur violinist himself. Under the tutelage of the Italian court violinist Titto Porto, Khandoshkin's progress was so remarkable that in 1762 he was appointed to the Court Orchestra. A significant milestone was the 1781 publication of two editions of his work in Amsterdam. After returning to St Petersburg in 1788, he remained a central figure in concert life, performing his own works and serving as a first violinist in various orchestras. In 1804, Khandoshkin died following a stroke and was buried at the Volkovo Cemetery in St Petersburg. Khandoshkin's sonatas for solo violin were published posthumously as Op.3 around 1806 by the St Petersburg publisher Friedrich Dittmar, but stylistic features indicate that they were composed in the 1790s. The use of the solo violin served both a practical purpose-allowing performance in the absence of a continuo player-and an artistic one: it was an opportunity to demonstrate the highest level of virtuosity. Any composer undertaking such works entered into an "intellectual duel" with works of great masters of these genres, such as the sonatas and partitas of J.S. Bach, the fantasies of G.P. Telemann, the fugues of J. Stamitz and W. Pichl, the sonatas of J.F. Reichardt and F.W. Rust. Khandoshkin holds a distinguished place in this lineage, his pieces pose exceptional technical demands while reflecting profound artistic intentions, embodying three distinct aesthetic currents: the fury of Sturm und Drang, the expressive nobility of the pathetish-galant style, and the refined hedonism of the Rococo. Anna Dmitrieva (b. 1987) graduated from the Saint Petersburg Conservatory, where she studied under T. Liberova, P. Popov, and I. Dzektzer. She continued her studies in chamber music and Baroque violin at the Hochschule für Musik und Tanz Koln with A. Spiri, H. Schoneweg, R. Gwilt, and K. Junghanel. With her ensemble Ludus Instrumentalis, she completed postgraduate studies at the Mozarteum Salzburg under R. Goebel. Highlights of recent seasons include her work as concertmaster of Concerto Koln in Romantic repertoire under Kent Nagano and Jacob Lehmann, as well as appearances as leader and soloist in a wide range of Baroque programmes. She has also served as leader for Akademie für Alte Musik Berlin, Ensemble Boulevard Baroque, and Ensemble 1700. Her performing and recording collaborations include Cordevento, La Chapelle Harmonique, Compagna di Punto, Altera Pars, Il Pomo d'Oro, B'Rock Orchestra, Musica Gloria, Collegium Musicum '23, and the Orchestra of the Eighteenth Century, among others.

Jacques Casterede (1926-2014) was a distinguished French composer, pianist, teacher, and musical analyst whose career bridged the traditions of twentieth-century French music and a personal, highly expressive compositional language. Born in Paris on 10 April 1926, he studied at the Paris Conservatoire under influential teachers including Tony Aubin and Olivier Messiaen. His exceptional talent earned him first prizes in piano, chamber music, harmony, composition, and musical analysis, culminating in the prestigious Prix de Rome in 1953. Following a residency at the Villa Medici in Rome, Casterede returned to France and became an important educator at the Paris Conservatoire, where he taught analysis, composition, and musicianship for several decades. Casterede's music combines melodic vitality, modal inflections, rhythmic energy, and rich harmonic textures. Although influenced by French masters such as Debussy, Ravel, Honegger, and Messiaen, he developed a distinctive style that balanced clarity of form with expressive freedom. Among his most significant contributions to the string orchestra repertoire is the Symphonie pour orchestre a cordes No.1 (1952). Written when the composer was still in his twenties, the work reveals many of the characteristics that would define his mature style: continuous melodic movement, energetic rhythmic writing, and a sophisticated harmonic language rooted in both tonal and modal traditions. Another important work for string orchestra is the Prelude et fugue (1960), a composition that reflects Casterede's deep interest in contrapuntal technique. Critics have noted it's combination of neo-Baroque energy with a modern harmonic vocabulary, producing music that is both intellectually rigorous and immediately engaging. Casterede also wrote concertante works featuring string orchestra, including his Concerto No.1 for Piano and String Orchestra (1954), and Trois paysages d'automne (1982) for cello and strings. These compositions further demonstrate his affinity for the sonorities of the string ensemble and his ability to combine lyricism with structural elegance. This recording is the 6th CD on Brilliant Classics of the Ciconia Consort (The Hague String Orchestra), a Dutch string orchestra conducted by Dick van Gasteren, an internationally active conductor, who was Bernard Haitink's assistant during the Mahler Festival Amsterdam in 1995. Critical praise for the Ciconia Consort on Brilliant Classics: 'The Ciconia Consort does Casterede proud, dispatching the counterpoint in the finale with relish I enjoyed this disc greatly.' Fanfare (French Music, 95734) 'The Ciconia Consort, resident at the Hague, are a fine ensemble, and this collection will not disappoint.' MusicWeb International (American Pioneers, 96086).

Francesco Mancini (1672-1732) was an Italian Baroque composer and organist, whose career was closely associated with Naples, one of the most vibrant musical centers of the early eighteenth century. A pupil of Francesco Provenzale, Mancini rose to prominence within the Neapolitan court and church music establishments, ultimately succeeding Alessandro Scarlatti as maestro di cappella at the royal chapel in 1725. Although he composed extensively for the stage and sacred venues-producing operas, cantatas, and oratorios-his instrumental music, particularly his works for the flute, reveals his deep understanding of melody, virtuosity, and expressive nuance. Mancini's Sonate per flauto e cembalo (Sonatas for Flute and Harpsichord), published in London around 1724, represent some of the earliest Italian compositions dedicated specifically to the transverse flute, an instrument gaining popularity across Europe at the time. These sonatas blend the lyrical warmth typical of the Neapolitan school with virtuosic passagework that highlights both technical brilliance and expressive depth. The writing often alternates between elegant, songlike slow movements and rhythmically animated fast movements, showing Mancini's mastery of balance between vocal-style phrasing and instrumental agility. Equally notable are his Concerti per flauto, which demonstrate an inventive approach to orchestral color and solo writing. The flute concertos combine Italianate brilliance with a sensitivity to the instrument's timbre, employing graceful melodic lines, clear structures, and engaging dialogue between soloist and ensemble. Mancini's concertos, alongside those of contemporaries such as Vivaldi and Pergolesi, contributed to establishing the flute as a leading solo instrument in eighteenth-century concert life. Played by Lorenzo Cavasanti and Corina Marti, and the Capella Tiberina (Paolo Perrone, concertmaster) and the Ensemble Tripla Concordia.

'A single motif is enough to identify the composer,' is howfriends have described the work of the composer Anatolijus senderovas (1945-2019). A distinctive artist who balanced the rationality of contemporary music with an innate emotionality in his work, he left a special mark on Lithuanian musical culture in the late 20th and early 21st centuries, continuing the Litvak thread that is inseparable from Lithuania's cultural history. This album, marking the 80th anniversary of the composer's birth, features three works: the Concerto in Do (2002), the Concerto No 3 for cello and symphony orchestra (2012), and 'The Songs of Shulamith' for cello and symphony orchestra (2000). These works are performed by Gleb Pysniak, one of the most prominent cellists in Lithuania and the Baltic States, and the Lithuanian National Symphony Orchestra conducted by Robertas servenikas. ' Text: Rasa Murauskaite-Juskiene English text editor: Joseph Everatt

The Hamburg-born Ferdinand Thieriot (1838-1919) not only shared a teacher - Eduard Marxsen - with Brahms; both composers, who remained friends in later years, use a very similar musical language. The musicologist Wilhelm Altmann wrote that 'Thieriot's chamber music is without exception noble and pure. He writes with perfect command of form and expression' - as the works on this fifth Toccata Classics volume prove, in their exquisite balance of depth and beauty, of Brahmsian richness and Schubertian spontaneity. Thieriot's Op. 62 Octet for winds and strings brings one gorgeous tune after another, but it's the Op. 78 Octet for strings - here in it's first recording - that will astonish: in it's blend of melodic profusion and effortless counterpoint it is hardly less impressive than Mendelssohn's exemplar.

Pasturelands Cello Concerto The pastures of the wilderness overflow, the hills gird themselves with joy, the meadows clothe themselves with flocks, the valleys deck themselves with grain, they shout and sing together for joy. (Psalms 65:12, ESV) Pasturelands Cello Concerto was written in an accessible Americana style to highlight the picturesque settings of western grasslands and pastures of the United States. Composed in four movements, 'Awakenings', 'Great Plains', 'Calves at Play', and 'Open Range', this work expresses the daily and seasonal changes of God's natural forces on the ranches and ranges of America. There is a beautiful simplicity of life lived on the prairies and plains of the American West. A rough, rugged, self-reliant spirit nurtures life, yet this spirit also relies on God's seasonal elements to sustain it. From 'Awakenings', which opens the concerto as sunrise might open the day, to the fun and up-tempo third movement 'Calves at Play', Pasturelands urges the listener to enter into the simple yet ancient daily life of grazing cattle and fields full of swaying grasses. Grand Teton Suite is a symphonic work inspired by the grandeur, beauty, and untamed spirit of the Grand Teton mountain range. Through sweeping melodies, vivid orchestral colors, and contrasting moods, the music evokes the dramatic landscapes of the American West-from majestic peaks rising above the valley floor to tranquil alpine meadows and the ever-changing skies above them. The suite captures both the power and serenity of this iconic wilderness, inviting listeners on a musical journey through scenes of natural wonder. Rich orchestral textures and expansive themes reflect the scale of the mountains, while moments of intimacy portray the quiet beauty found within the landscape. Grand Teton Suite celebrates the enduring connection between nature and the human spirit.? American Patriot Hymn Composed in celebration of the 250th anniversary of the United States, American Patriot Hymn is both a reflection on the nation's origins and a tribute to the enduring spirit of it's people. Central to the piece is it's use of texts attributed to Samuel Adams (The Source of Liberty) and John Quincy Adams (Narrations), whose words capture the philosophical and moral foundations of the American experiment. These elements are not merely decorative-they serve as the backbone of the work's narrative, illuminating themes of liberty, sacrifice, and civic responsibility. By setting these texts, the audience is projected into the voice of the Revolutionary era, inviting reflection on the ideals that shaped the nation's birth. Musically, American Patriot Hymn is grounded in a language that feels both familiar and freshly imagined. It's melodies evoke the character of traditional patriotic song-broad, singable, and resonant-while avoiding direct quotation. The original thematic material captures the essence of American musical identity: open intervals, noble contours, and a sense of forward motion that mirrors the country's ongoing journey. The orchestration reinforces this spirit, balancing moments of grandeur with passages of introspection. In this anniversary year, American Patriot Hymn stands as a musical statement of remembrance and renewal. It honors the vision of the nation's founders while acknowledging the continued responsibility of each generation to carry those ideals forward.

Caspar Diethelm (1926-97) was one of the leading Swiss composers of the twentieth century. His free-tonal style - angular yet accessible - drew on the inheritance of several of his predecessors, above all Hindemith, Honegger (both of whom were his teachers), Martin and Schoeck, with Bartók adding rhythmic spice. These influences he combined with an awareness of modernism to form an individual and expressive musical language of his own. These chamber works for clarinet, covering over thirty years of creativity, are variously informed by lyrical tenderness, ironic humour, a dark sense of drama, edgy energy and light-hearted playfulness. Largely unknown until now, they constitute a major addition to the clarinettist's repertoire.

Tendresse et tragedie' brings together cellist Paul Marleyn and pianist Stephane Lemelin in a program dedicated to three figures of French music from the Belle epoque: Rita Strohl, Fernand de la Tombelle, and Gabriel Faure. Through these works for cello and piano, the two performers highlight a repertoire of great expressive richness, blending lyricism, dramatic intensity, and refinement, while breathing new life into lesser-known pieces, including the world premiere recording of Fernand de la Tombelle's Variations en forme de chaconne.

Printing music was expensive in the 18th century and copying manuscripts was commonplace. The works in this premiere recording are part of a collection of five volumes of recorder music titled Sinfonie dei varij autori bearing the name Paolo Antonio Parensi (1688-1749), who was thought to have been an amateur musician in Lucca, Italy. Several of the works in this collection are by Robert Valentine (c. 1674-1747) but there is little know about his life: he was from Leicester, England, but left for Rome in his early 20's to carve out his career. We don't know what his connection to Parensi was, but this collection is a hugely valuable source of Italian recorder repertoire from the earlier part of the 18th century. Several of his sonatas were also published by Walsh & Hare, but this premiere recording presents his Opus 11 as it appears in Parensi manuscript, as 12 recorder and basso continuo sonatas. Valentine wrote over 60 works for the recorder - his output makes him one of the most prolific composers of recorder repertoire in the early 18th century.

The most comprehensive set ever dedicated to the music of a neglected Italian Romantic, reissuing modern performances which have been recognised for their sensitivity and dynamism. As a one-time pupil of Franz Liszt, winning admiration from Richard Wagner at an early stage in his career, Giovanni Sgambati pursued a vocation outside the mainstream of 19th-century Italian music. Rather than opera, he was drawn above all to Germanic instrumental models of the concerto, quartet and symphony, prefiguring in this way the music of Martucci and Respighi as they sought to reclaim those models within an Italian tradition. Another of his successors, Alfredo Casella, paid warm tribute to him as a pioneer: 'The work of Sgambati, is of real importance in musical history it was he, at all events, who pointed the way which Italian composers are now treading in ever greater numbers, with growing confidence, and with increasing success.' Particularly notable in this set is the inclusion of the third and last of Sgambati's symphonies. The First and Second have attracted recordings elsewhere, but under the direction of Francesco Attardi, who has made modern editions of several Sgambati works, the Third is revealed as a powerful symphonic statement in five movements and three parts - in this regard, if in few others, resembling Mahler's Fifth, and taking marriage for it's programmatic theme. There is a nobility of utterance to the Third which makes a striking contrast with the blood and thunder of the G minor Piano Concerto, as well as with the intricately worked counterpoint of the Nonet for strings and the two Piano Quintets. Sgambati was agile in both mind and technique, adapting his idiom to his genres. Any listener hungry for out-of-the-way Romantic rarities will find rich rewards in this new, super-budget collection. In previous Fanfare magazine reviews, it was noted that 'Gaia Federica Caporiccio plays with a winsome freshness.' 'Caramiello's performance is more ruminative, less frenetic... this is highly recommended.' In reviewing the chamber music: 'I find Brilliant's newer recording much more to my liking.'

Platti, Giovanni Benedetto (1697-1763). Up until a few years ago, any judgement concerning the creative personality of Platti was based exclusively upon an analysis of his sonatas for harpsichord, together with a handful of his other works. This fact contributed to the inclusion of this composer from the Veneto in the company of so- called 'minor' composers of the eighteenth century, such names as G.B. Pescetti, D. Alberti, M. Vento, F. Pellegrini, G.M. Rutini, etc. In recent times, however, nearly all of Platti's production has been studied, and the results are overwhelmingly convincing that it in fact contains unquestionable masterpieces such as the Requiem Mass, the Stabat Mater, the Concerto for violin, some of the most beautiful concertos ever written for the violoncello, and many other works of notable interest. Thus Platti music may now be considered worthy of being included in the most serious the concert repertoires and recording catalogues. The Ensemble "J.M. Anciuti", featuring soloists of the calibre of Stefano Montanari on violin, Claudio Rufa on transverse flute, and Paolo Pollastri on oboe, offers us a superb period-instrument performance of the composer's chamber repertoire.

This unique album of chamber music by Patrick Stoyanovich features performances by the composer's daughter, the violinist, Sophia Stoyanovich. Ms. Stoyanovich's intense connection with her father's music can be gleaned by a brief sample of her liner notes: "In the fall of 2019, on a visit to Paris, my father walked down the Rue de Paradis. A year later, while working on his second Sonata for violin and piano, the memory of that street inspired the closing theme of it's final movement. This theme seems to reach out it's hand, consoling the listener after a monumental journey. I find wisdom in my father's music in a moment like this, in which an intimate honesty of sentiment answers music of struggle, addressing our emotional need as listeners." Ms. Stoyanovich is partnered by pianist Derek Wang and cellist Aaron Wolff in these deeply felt recordings.

Our debut album tells of creative connections spanning centuries and of the curiosity and passion that keep music relevant and alive today. We move playfully between rarely heard and well-known masterworks of the Baroque, presenting both ensemble and solo works to create a richly textured soundscape. Many of the composers featured on this album were linked through personal or artistic exchange. Telemann, Handel, Corelli, and the mysterious Mrs. Philarmonica were not only connected stylistically, but also crossed paths in the musical centers of Europe such as London, Hamburg, and Rome.

We clarinetists are profoundly grateful to Johannes Brahms for these four late works, composed near the end of his life. They stand as some of his most intimate and deeply felt music. We also owe thanks to the clarinetist Richard Mühlfeld, whose artistry moved Brahms so greatly that it inspired him to compose again. Mühlfeld's playing unlocked a new, quieter world for Brahms. Instead of writing large, dramatic works, Brahms started composing more personal and emotional music that highlighted the clarinet's warm and gentle sound. I was a young man when I first got to know these works, and in retrospect, I believe that my long engagement with these four compositions has shaped my approach to music-making more profoundly than any other repertoire, extending even to my interpretations of contemporary music. There are certain compositions that simply refuse to let go. Often, after performing them, one assumes it will be the final time, yet that is seldom the reality. This has certainly been my experience with the works of Brahms. His music is a constant source of inspiration. Every time I set the music on the stand, something opens up - a new interpretative idea or a deeper understanding of the music. And then that feeling comes up that every musician recognizes: I have to play this again! This is music that demands stillness and focus, and for me, it serves as an escape from the speed and noise of modern life. We are inviting the audience into a space where time stands still, where we are allowed to be sincere and reflective. It is both a privilege and a responsibility to keep these compositions present through performance and recording. After our recital in 2017 where we played all four works, the idea emerged to record them together. I hope you will find as much enjoyment in listening as we found in bringing this music to life. - Rúnar

This album traces pianist Alexandra Dariescu's journey through discovery, memory, and celebration, uniting masterworks with neglected gems and world premieres. Mozart's radiant Rondo in D major, K. 382, opens the programme, paired with Emmy Schäfer Klein's long-forgotten Child's Dream and James Lee III's newly composed Humble Birth. Music by Clara Schumann, Nadia Boulanger, Florence Price, Amy Beach, Germaine Tailleferre, Leokadiya Kashperova, and others highlights the voices of women across centuries. Interwoven are personal favourites-Bach/Siloti's Prelude in E minor, Villa-Lobos's sparkling O polichinelo-alongside youthful treasures by Carl Filtsch and Tudor Ciortea. Together, they form a vivid portrait of music as dream, memory, and renewal.

Franco Gulli (1926-2001) was one of the finest violinists of the 20th century. He began his violin studies at five at his father's music school in his native Trieste, Italy. After graduation from the Conservatory of Trieste in 1944, he debuted at the Teatro Verdi, performing Beethoven's Violin Concerto. He was the concertmaster of the Milan Chamber Orchestra and soloist with I Virtuosi di Roma. He performed all over the world with leading orchestras with such artists as Menuhin and Rostropovich. In addition to his solo career, he was dedicated to chamber music. In the 1940s he formed a duo with his pianist wife, Enrica Cavallo, and their collaboration extended for many years. He formed the Trio Italiano d'Archi with violist Bruno Giuranna and cellist Giacinto Caramia. Gulli's discography as soloist and chamber musician is extensive. Equally renowned as a teacher, he taught at Indiana University in Bloomington from 1972 until his death. Born in Milan in 1933, the violist Bruno Giuranna has had a very distinguished career as a soloist and chamber musician. He debuted in 1954 under Herbert von Karajan and further performed with renowned orchestras under such conductors as Riccardo Muti, Sergiu Celibidache, Claudio Abbado, Carlo Maria Giulini, and Sir John Barbirolli. Giuranna was a co-founder of I Musici, and the violist of the Trio Italiano d'Archi from its inception in 1957. Like his chamber partner Franco Gulli, he has recorded widely both as soloist and chamber musician. He has had a distinguished teaching career at such leading music schools as London's Royal Academy of Music and Berlin's Hochschule fur Musik. In 1987 he was named Cavaliere di Gran Croce a Merito della Repubblica Italiana. Giacinto Caramia (1923-2015) was a native of Naples and studied with Enrico Mainardi, graduating from the Academy of Santa Cecilia. He performed and recorded widely in many musical contexts, including performances with I Virtuosi di Roma and the Naples Radio Orchestra under Sergiu Celibidache. He became the cellist of the Trio Italiano d'Archi in 1962.

During the long, uneasy days of the Covid Pandemic, I listened to radio dramas of the 1940's and 50's. These tales of extortion, infidelity and murder were filled with ominous organ hits, creaking doors, stilted dialog and droll one-liners; a mix of the deadly serious with the absurd. Radio Noir recalls the strange pandemic mood of dusk encroaching and isolation. ___Joseph M. Levin

The youngest musician ever to win the International Tchaikovsky Competition Cello Division, exciting American cellist Zlatomir Fung has collated an album of opera fantasies including Fantasy on Jenufa which he arranged himself and a Fantasy written especially for him - Fantasia Carmen - by composer Marshall Estrin. After extensive research Fung found these fantasies for cello used recognizable tunes from famous operas to create a free medley and that there are few rules beyond the pure expression of the composer's personality, interests, and strengths as a cellist. But it's more unconventional elements reimagine the notion of the fantasy itself, proving that the genre's possibilities are far from exhausted-and, indeed, may only be in their infancy. After his Tchaikovsky competition win, Fung has garnered accolades, critical acclaim and standing ovations at performances around the world, more and more widely recognized as one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 25-year-old has already proven himself a star among the next generation of world-class musicians.

Emanuel Gruber and Arnon Erez's classic account of Beethoven's music for cello and piano has been remastered for this 2-CD release. The Jerusalem Post called Gruber "one of our great artists" citing "his extraordinary capacity for projecting the deepest meaning of the music". Gruber was awarded the Pablo Casals prize by the Israel Philharmonic Orchestra. Arnon Erez has been the head of the Chamber Music Department at the Buchmann-Mehta School of Music at Tel Aviv University for nearly two decades. With Emanuel Gruber, Erez has recorded the complete cello and piano Sonatas by Beethoven, Mendelssohn, and Brahms.

A transformation During the COVID-19 pandemic, when the world shut down and many lives were lost or changed forever, I experienced a serious transformation. A commitment to sobriety unleashed new creative forces. The world's new normal of quiet and introspection led me to return to a more formal branch of my musical upbringing: fully-inked acoustic music. Untethered from the backbeats and lead sheets of my career in jazz and pop music, I once again immersed myself in scores and music literature. An exciting new sense of freedom filled me with inspiration. I discovered a wellspring of patience and subsequent understanding and became obsessed with form. Hyper-focussed and pencil in hand, I wrote tirelessly from dawn until dusk. When I spoke about this newfound passion with one of the biggest supporters of my lifetime, my Dad, he told me it sounded like I had "seen the light" - a remarkable turn of events during an otherwise difficult time for us all. About the music... String Quartet No. 1 "The Orphans" (2023) The idea of writing a string quartet began to haunt me as this hallowed format can be intimidating. After what initially seemed like fruitless labor, I sidelined this ambition to work on some other music. Then one day while walking in a forest preserve in Chicago, a tune popped into my head which later developed into a promising base movement for a string quartet. Despite a failed attempt at a second movement, my confidence grew, and again inspired by nature, movements I, II and III were written with the base movement now as IV. Just when I thought the whole piece was done, the inspiration for another, shorter, livelier, and more cohesive movement came to me, and outdoors no less! Following my intuition I completely abandoned the germ of it all, the mother of this string quartet, for four of her offspring. It was an unpredictable process. Three Poe Excerpts (2022) While writing my first opera, The Bells of Fortunato, adapted from Edgar Allan Poe's The Cask of Amontillado, I became transfixed by Poe's writing. I discovered more stories of his with moments full of life and beauty that seemed to be wonderful opportunities for songs. I ended up taking a break from Fortunato to work on the songs that became Three Poe Excerpts. "Even as it Was" came first followed by "A Feeling for Which I Have No Name." These both came fairly easily and with much joy, but I wasn't satisfied with just the two. Although initially skeptical of the music that became "To the Right and Left," something told me to stay the course, and I am happy with the result. I thought the three songs could use some sort of set up, and the image of a hand opening an oversized book like in the beginning of old fairytale movies came to mind. This inspired the foreword and afterword. The Thousand Injuries (2023) A section of one of my prior works, a fantasie called Outside Motion in Stillness, gave me the idea to try my hand at an opera. I read through many plays, poems, and stories until landing on the right one. I believe there have been at least a couple of operas based on The Cask of Amontillado by Edgar Allen Poe, but that didn't stop me from writing my own adaptation, The Bells of Fortunato. The Carnival scene was the perfect fit for the music I had brewing. Poe's writing is wonderfully succinct and illustrative, and I found myself so intrigued that the rest of the music came without much hesitation. After a musical introduction which includes a chorus singing "nemo me impune lacesset" ("no one attacks me with impunity"), we meet our protagonist Montresor, played by a soprano, who sings the only aria from the opera. "The Thousand Injuries" informs us of her contempt for the entitled Fortunato. The musicians and the studio... I can't speak highly enough of the musicians on this album. The dedication to great performance from each individual is heard in every moment. I am truly honored to have made this with you all. I'd like to express my deepest gratitude to Doyle for assembling this dream of a string quartet to help bring "The Orphans" to life with such finesse and conviction. Thanks to Steve of SHIRK studios for the hard work, perpetual coolness, and professional atmosphere that is consistently provided. Special thanks to Matt Reed, Stu Mindeman, Margaret Casey, and Tom Palmer. All my love to Al and Ray. In memory of Tom Doherty. Rest easy Thos.