The Milken Archive of American Jewish Music has released a new recording of Yizkor Requiem—A Quest for Spiritual Roots, by Washington, D.C.-based composer, singer and choral conductor Thomas Beveridge. This intensely personal, ecumenical concert work, sung in Hebrew, Aramaic, Latin and English, juxtaposes and interweaves elements of the Jewish Yizkor and Roman Catholic Requiem liturgies, and musically expresses some of the shared themes of the two great Western religions and rituals. In the words of the composer, it "stands on the Sacred Bridge between them, and shows that in many ways the two faiths—and the two liturgies—express the same hopes and fears and ideas."

Frequently performed and widely acclaimed since its 1994 premiere, Yizkor Requiem combines liturgical texts from the yizkor and Requiem liturgies with excerpts from Hebrew daily and holy day prayers, Psalms, and classic Christian supplications such as the Lord's Prayer. To point up the nexus between the two religions and the interdependence of Church and Synagogue in the early years of Christianity, the composer focuses particularly on the relationship of specific words in the Latin Mass to their Hebrew sources and counterparts. This connection is exemplified by the title itself: the Hebrew phrase yizkor elohim nishmat means "May God remember the soul"; the equivalent Latin phrase in the Roman Catholic Requiem Mass is Requiem aeternam dona eis Domine—"Grant them eternal rest, Lord." The cantata also includes a setting of the 23rd Psalm, frequently used in the memorial services of both traditions, and in the final movement, the Hebrew Mourner's Kaddish and the Christian Lord's Prayer are sung simultaneously.

In this performance, Sir Neville Marriner conducts the Academy and Chorus of St. Martin in the Fields, with soprano Ana María Martínez, mezzo-soprano Elizabeth Shammash, tenor Robert Brubaker, and Rabbi Rodney Mariner as speaker.

This recording complements two previously released Milken Archive CDs of interfaith and multicultural works: Dave Brubeck's The Gates of Justice (released January 2004), a cantata based on Jewish biblical and liturgical texts, the words of Dr. Martin Luther King, Jr., and Negro spirituals that underscores the shared experiences and aspirations of Jews and American blacks; and David Diamond's Ahava (Brotherhood), (released April 2004), a celebration of the ideals of freedom, justice and opportunity that American Jews have enjoyed for more than three centuries, ideals that should be pursued as the universal birthright of all mankind

Click here to view all available releases in the Milken Archive Series at ArkivMusic.

'The American Yiddish musical theater, a vibrant expression of the immigrant experience, became famous during it's heyday in the 1920s-1940s. Combining the musical flavors of Viennese operetta, Tin Pan Alley, and eastern European nostalgia, these song.

Includes work(s) by Charles Davidson. Ensemble: Finchley Children's Music Group. Conductors: Nicholas Wilks, Bradley Lubman. Soloists: Douglas Webster, Amy Goldstein.

German-born American composer Gershon Kingsley has described his creative world as one in which “Mozart dances with the Beatles and Carl Jung struggles to reconcile the opposites of our human soul.” Focusing equally on secular and religious theatrically oriented works, he has infused his music with classical, jazz, popular, and electronic elements, resulting in a highly individual style that blends the traditional with the contemporary and even the avant garde. Heard on this CD is Kingsley’s haunting and compelling musical-theater piece for voices and chamber ensemble, Voices From the Shadow, which is based on intensely personal poems related to the Holocaust—many of them written in the concentration camps—by thirteen poets in six different languages. This is followed by three sacred works: Jazz Psalms—vibrant prayer settings for singers and jazz combo that fuse idiomatic jazz rhythms, sonorities and vocal styles with echoes of traditional liturgical melodies, and excerpts from two choral compositions that combine the enduring spirit of the Sabbath liturgy with electronically synthesized sounds. Both Shabbat for Today, a spirited setting of the Saturday morning service, and Shiru Ladonai (Sing to God), a Friday evening service rich in lyricism, utilize Moog synthesizers to create the instrumental sounds, and demonstrate how Kingsley expanded the expressive boundaries of traditional synagogue music. Noted actor Harry Goz is heard as the narrator in Shabbat for Today.

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R E V I E W S:

For its 32nd release, the Milken Archive of American Jewish Music brings us a CD of works by the German-born (1922) American composer, Gershon Kingsley. Some may know him from his pioneering work on the Moog synthesizer, and indeed two of the pieces on this program—Shiru L’Adonai and Shabbat for Today—combine synthesizers and voices. Others may know Kingsley from his work in radio, television, and motion pictures, or from his association with the Joffrey Ballet, Josephine Baker, and several Broadway shows. He was also Jan Peerce’s accompanist on a number of international tours.

Kingsley is not the first composer, nor is he likely to be the last, to set to music poetry written by Holocaust concentration camp victims and survivors. Kingsley himself is fortunate to have escaped that fate when his family left Germany shortly after the infamous Kristallnacht in 1938. He spent eight years in Palestine, before immigrating to the US and taking up residence in Los Angeles, a welcoming haven at the time for Jewish refugee musicians and composers.

Voices from the Shadow (1997) is the main business of this release. It is a collection of 18 songs composed to poems written by concentration camp inmates and later survivors. Many were written in fear and desperation, others in hope and an unshakable faith in God’s ultimate compassion. Needless to say, most of the poems, but especially those by or about children, are heartrending. In “My Number is 434” (a reference to the indelible numbers tattooed on the arms of the inmates), a young girl sings, “I dream I am wearing an organdy dress, for I’m sixteen, at my first ball. In my hair is a poppy, in my heart a thrill.” Then too there is the sardonic, morbid humor of a child numbed by and inured to death in the “Terezin Nursery Rhyme:” “Mercy, mercy me! We’re riding in a hearse. Mercy, mercy me! We’re riding in a funeral coach. Here and there we stop off to drop off a corpse or two.”

Relying on a modest chamber ensemble of strings, clarinet, and piano, Kingsley’s settings do not overwhelm the texts. He allows them to speak for themselves, employing his instrumental accompaniments to underline the heartache and the horror with subtle but devastating effect. A striking example is “Ich möchte gerne,” in which the poet longs once again to hear the sound of a train taking him to distant places where he can watch the stars. Throughout, the clarinet imitates the sound of a chugging locomotive. The hideous irony it suggests, of course, is the image of the endless comings of the trains filled with Jews, like cattle, headed to the slaughterhouses. I presume the original languages of the poems have been retained, for the songs alternate between German, Yiddish, English, French, Polish, and Czech. This is a CD—or certainly half of one—not to be missed...Others will enjoy the jazz and synthesizer pieces more than I did. But Voices from the Shadow deserves an urgent recommendation.

Jerry Dubins, FANFARE

Includes work(s) by Lukas Foss, Robert Beaser. Ensembles: Berlin Radio Symphony Orchestra, Laudibus, Seattle Symphony Orchestra. Conductors: Gerard Schwarz, Michael Brewer, Christopher Wilkins. Soloists: Kevin McCutcheon, James Maddalena, Constance Hauman.

The more time passes, the more Leonard Bernstein's "Kaddish" symphony sounds like an important work. It certainly does in Gerard Schwarz's hands, as he leads a stimulating and fully engrossing rendition with his assembled performers. He's got Bernstein's idiom down pat--almost as well as the composer himself--successfully conveying the work's angry first half while giving equal measure to the remainder's more serene and playful episodes. The Royal Liverpool Orchestra plays marvelously, fully capturing Bernstein's sound world, with its unique instrumental effects (even if Bernstein's Israel Philharmonic recording features more aggressively played percussion).

Baritone Willard White takes on the speaker's role, and though he at first sounds a bit stiff and stentorian (especially compared to the suave-sounding Michael Wager for Bernstein), his increasingly grand and eloquent oratory makes it clear that he is speaking not for himself, but for all of humanity. Soprano Yvonne Kenny sings with a transcendent beauty that is wholly appropriate for the music. The well-prepared Liverpool Metropolitan Cathedral Choir tackles Bernstein's complex rhythms and tricky syncopations with real gusto.

Rhythmic alacrity also is a main ingredient in Schwarz's winning performance of Bernstein's joyous Chichester Psalms, with excellent contributions from treble soloist Michael Small and the Liverpool Philharmonic Youth Choir. After all the excitement, Schwarz ideally evokes the quiet rapture of the work's magical close. Naxos' first-rate recording provides realistic presence and wide dynamic range. An excellent pairing, and a fabulous disc. [9/30/2005]

– Victor Carr Jr, ClassicsToday.com

The music on this CD is a joyous celebration of Zionist dreams and hopes, as well as of daily life in Israel. From the mystical nostalgia of Old Jerusalem to the rambunctious energy of Yom b’kibbutz (A Day on a Kibbutz), this delightful program takes listeners on an unforgettable musical voyage to the land of Israel.

“Max Helfman’s ‘Israel Suite’ features some sophisticated choral writing... Julius Chajes’ ‘Hebrew Suite’ is evocative... The real surprise on the CD is Herbert Fromm’s delicate ‘Yemenite Suite.’ As usual with the Milken sets, the performances are excellent...” — George Robinson, The Jewish Week (6/16/06)

“Four stars. This is one of the most appealing of the continuing series... [Weill’s Hatikva is]...moving... [Fromm’s Pioneers features] some lovely flute solos... The concluding work on the disc is an eleven-minute romp from Sholom Secunda, a composer remembered primarily for his association with the American Yiddish musical theater. The piece...is designed to depict programmatically life on a typical kibbutz. Well, this seems to be a really swinging kibbutz, what with shades of Harold Arlen, Gershwin and Bernstein in the rollicking and jazzy score!” — John Sunier, Audiophile Audition

Click here to view all available releases in the Milken Archive Series at ArkivMusic.

Cantor, composer, arranger, and consummate performer, Simon Spiro is world-renowned for his pure tenor voice, expressive musicianship, and charismatic personality. This all-new recording features Cantor Spiro in unique arrangements of beloved favorites such as Shalom aleikhem and Ya ribbon olam for the Sabbath, festive music for Hanukka, Passover, and the High Holy Days, the cantorial masterpiece Ba’avur david, and the virtuoso rendition of a Yiddish folktale, Avremele melamed. Another special feature: the traditional wedding benedictions, Sheva b’rakhot—some of the most beautiful Jewish wedding music. Let Cantor Spiro lead you through a musical celebration of Jewish life in all its richness and variety.

“...an attractive and well-chosen programme. Spiro’s voice is pleasant on the ear and it is easy to appreciate his virtuosity.” “The choral arrangements are all very well done... All the choirs on the disc are excellent... The disc comes with the usual superb liner notes; I can highly recommend this to anyone who would like to explore what might, for them, be an unknown area of repertoire.” — Robert Hugill, MusicWeb.uk.net (November 2005)

“The various selections are described as ‘concert favorites,’ and indeed they are, or were, and perhaps because of this CD will become so once again... These pieces emerge as fresh, engaging new works and may perhaps even become concert favorites again... As this CD demonstrates, Cantor Spiro is a real hazzan and has the voice and the ability to project all aspects of the cantor’s art... All the choirs sing with distinction, with intense and rounded tone, superb intonation and ensemble... Credit is gratefully given to Mr. Neil Levin, their conductor... I must single out the performance of ‘Ya Ribbon Olam,’ arranged by Roderick Williams, for special praise. Yes, indeed, Cantor Spiro is superb, but without these magnificent choirs his efforts would not have attained the musical or religious heights both forces together achieved... This is a worthy addition to one’s library of Jewish music. While the average cantor or choir may not sound like Cantor Spiro and the choirs here, wouldn’t it be nice if they did?” — Morton Gold, Jewish Post and Opinion (Indianapolis, Indiana) (May 11, 2005)

“...a keeper... Cantor Spiro is accompanied by a number of choirs including the Schola Hebraeica and the Coro Hebraeico, two of the finest Jewish professional choirs... A double pleasure to get a recording of first-rate cantorial and choral music together... The CD’s highlight is a new Spiro arrangement of ‘Ba’avur David,’ in which the vocal harmonies of the Coro Hebraeico are richly mined for tone color. Spiro’s arrangement of the ‘Sheva B’rachot’ is also noteworthy... A great opportunity to introduce hazzanut to those people who have little exposure to or never imagined they could appreciate this style of liturgical music.” — Jewish Herald-Voice (April 7, 2005)

“Cantor Simon Spiro is in fine voice, and is ably accompanied by the various choral institutions... Neil Levin, who has won an award for his encyclopedic Milken Archive program notes, here takes up the baton, and conducts with equal enthusiasm. This can be recommended for Holyday Calamities alone.” — Jerry Dubins, Fanfare (July/August 2005)

“...a delightful ‘Sheva B’rakhot,’ versions of Judaism’s seven wedding blessings... The jaunty 6/8 section in the middle would seem an ideal send-off for a happy couple, with a deftly crafted choral conclusion providing a measure of solemnity just before the fateful breaking of the glass... Cantor Spiro’s voice…is as pleasing to the soul as it is to the ear. The modal squiggles and shakes of the Ashkenazic style can sound strident when most cantorial tenors have at them, but they are smooth as silk here, thanks to the chazzan’s tasteful control. ‘Ba’avur David,’ a Hebraic obstacle course of runs, quivers and impassioned repetitions that fairly begs for vocal excess, actually comes off more as a meditation than as a vehicle for virtuosic expression. Mazel tov, bravo, and I’m still not sure how he pulled it off.” — Philip Greenfield, American Record Guide

“If you haven’t ventured into this extraordinarily fine project [the Milken Archive], I can’t think of a better place to begin than right here. You hear the glory of massed voices suitable for many occasions, and you hear the splendid tenor voice of Cantor Simon Spiro, acknowledged as a leading interpreter of cantorial art.” — King Durkee, Copley News Service

Click here to view all available releases in the Milken Archive Series at ArkivMusic.

Click here to view all available releases in the Milken Archive Series at ArkivMusic.

This new disc reflects the varied responses of twelve 20th- and 21st-century composers to some of the most affecting and enduring of all biblical texts—the Psalms.

Common to the liturgies, histories, and spirit of both Judaism and Christianity, the biblical Book of Psalms is one of the most widely familiar and most frequently quoted books of the Hebrew Bible. The Psalms' sentiments and teachings, expressed in a singular blend of majestic grandeur and poignant simplicity, give them a uniquely universal resonance. Encompassing virtually every human emotion and mood from exaltation to alienation, hope to despair, these texts have inspired musical interpretation since Jewish antiquity, with notated musical settings dating back more than ten centuries.

Composers of virtually every orientation have engaged the Psalms in compositions ranging from large-scale works for chorus, full orchestra, and soloists to intimate a cappella choral pieces. The original settings heard on this new CD, by both traditionally-minded and avant-garde composers, exemplify the variety of musical treatments and expressions the Psalms have inspired.

Participating artists heard on "Psalms of Joy and Sorrow" include actor Theodore Bikel, cantors Alberto Mizrahi, Charles Osborne and Meir Finkelstein; the BBC Singers, Laudibus Choir, Schola Hebraeica, Barcelona Symphony/National Orchestra of Catalonia and the Slovak Radio Symphony Orchestra; and conductors Samuel Adler, Michael Brewer, Ronald Corp, Patrick Gardner, Steven Gunzenhauser, Avner Itai, Elli Jaffe, Neil Levin and Karl Anton Rickenbacher.

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Includes work(s) by various composers.

Includes work(s) by various composers. Ensembles: Vienna Chamber Orchestra, Barcelona Symphony Orchestra. Conductors: Elli Jaffe, Jorge Mester. Soloists: Nell Snaidas, Robert Bloch, Joanne Borts, Amy Goldstein, Simon Spiro, Benzion Miller, Elizabeth Shammash, Robert Abelson, Bruce Adler.

The recordings are bright, clear and well played by clearly committed musicians who have taken to this wonderfully harmonious and melodic music. ...

Herman Berlinski is one of those musical personalities whose Jewish heritage played as vitally important a role in the creation of his music as Messiaen’s Catholicism played in his. Berlinski said that he doubted that there was any music he wrote which did not embody his Jewish existence. This is certainly immediately obvious as soon as you listen to it. His music has the same sense of suffering and the ability to overcome it that is found in some black music. It makes for a powerfully emotional experience. One reviewer said of another of his works on Naxos (Avodat Shabbat) that “There are passages in Berlinski’s work of such aching beauty that if you are not moved to tears you are made of sterner stuff than I am.”

Each of the works on this disc is a good introduction to the breadth of expression that Berlinski brings to his music and makes the listener want to explore further. It is interesting to note that though he was born in Leipzig of Polish parents his musical roots draw on that eastern European Jewish legacy that begins east of Germany’s borders. Anyone who is familiar with klezmer will hear its influence in this music; try track 2 to hear what I mean. This was due to the insistence of his father that though he wanted his children to be “modern German Jews” he also wanted them to be acquainted with their eastern European heritage. He also engaged a tutor to teach them Yiddish. There is no indication in the liner notes, which are extremely comprehensive and well written, that Berlinski ever wrote any music for film. I this found surprising because he would have produced some superb music for that medium. He has that facility for producing powerful sweeping themes that would fit neatly into so many movies.

‘From the World of my Father’ is a suite that Berlinski reconstructed from his recollections of music he had written in Paris just before the war when he was forced to leave. His parents had emigrated from Lodz in Poland to Germany. He had been writing and arranging music in Paris for an émigré Yiddish art theatre known as PIAT. This music is a portrayal of the world of his parents and their parents before them. It aimed to encompass traditions, hopes, fears, joys, persecutions – in short to present in music as a microcosm of the Jewish world of eastern Europe. It achieves these aims wonderfully and is never banal but full of typical Jewish melodies woven into a brilliantly evocative piece.

‘Shofar Service’ is a liturgical work using a shofar, usually made of ram’s horn. This may be the oldest surviving wind instrument to have been in continuous use. It is the only musical instrument of any kind mentioned in the Bible that can be positively identified. It was used for summoning people, warning them of approaching danger, announcing the beginning of a period of celebration, of fasting and many other events. This piece was written to be performed during Rosh Hashana or the Jewish New Year - a time with which the shofar is most associated. It is a powerful work in which the shofar is set against the voice of a baritone who entreats the people to harken to the sound of the shofar and to worship the Lord at the holy mountain. Liturgical though it may be it would be extremely effective performed in the concert hall as part of a programme of Berlinski’s work.

‘The Burning Bush’ was commissioned from Berlinski by the distinguished organist of the Emanu-El temple in New York. Berlinski had been encouraged to learn the organ as late as 1951 by Josef Yasser, synagogue organist and musicologist, who offered to teach him. The organ has always fascinated Berlinski but it had not figured on his course in Leipzig where it was principally associated with the church. Taking the Hebrew words eh’ye asher eh’ye (I am that I am) that God spoke when asked by Moses who he should say had appointed him to carry out his mission, Berlinski constructed a reflective cell from those words. This rhythmic cell pervades the piece. It was first performed in 1956 by Robert Baker - who commissioned it - to great acclaim. It helped establish Berlinski’s reputation in Great Britain, Europe and America as one of the most gifted contemporary composers for the organ.

The final work on the disc is ‘Symphonic Visions for Orchestra’ a semi-programmatic tone-poem inspired by various biblical images, passages and sentiments. Once again it shows the power of expression that Berlinski has. It makes a fitting end to a disc of music that will hopefully gain a new wave of admirers - of whom I am certainly one - for a truly original musical voice. The disc is a great start for those wishing to explore this composer’s music. The recordings are bright, clear and well played by clearly committed musicians who have taken to this wonderfully harmonious and melodic music.

-- Steve Arloff, MusicWeb International

Click here to view all available releases in the Milken Archive Series at ArkivMusic.

Includes work(s) by Elie Siegmeister, Hugo Weisgall.

On this release, titled “Jewish Tone Poems,” we have three works from three composers with very different backgrounds and from three different periods. The oldest is Aaron Avshalomov (1894–1964) who was born in eastern Siberia, and following the 1917 Russian revolution was sent by his parents to the US via Manchuria and northern China. After marrying a Russian émigré in San Francisco and spending three years in Portland, Oregon, he returned to China, settling among the large Jewish community in Shanghai. During the Second World War, he was forced to live under house arrest, but after the war, he followed his son Jacob (also a distinguished composer) to the US, this time remaining permanently. As a composer, Avshalomov, the elder, was largely self-taught. His Second Symphony (1949) was commissioned by Serge Koussevitzky. The booklet note to the four Biblical Tableaux is provided by Avshalomov’s son. With this work we have once again what basically amounts to a four-movement symphony (though a short one), each of its movements provided with a title that references a Biblical story: “Queen Esther’s Prayer” (from the Book of Esther read on the Jewish festival of Purim); “Rebecca by the Well”; “Ruth and Naomi” (from the Book of Ruth read on the holiday of Shavuot); and “Processional.” I think each of these pieces were correctly titled “tableaux” by the composer, since none is long enough or developed in a way that informs our understanding of tone poem. Each is a brief (the longest lasting only four minutes) orchestral sketch in a very attractive Romantic idiom. Given that Avshalomov was born in the waning years of the 19th century, and that he received little or no formal musical training, the conservative and largely derivative idiom comes as no surprise.

Sheila Silver (b. 1946) is a Seattle native, and a graduate of University of California Berkeley. Her Shirat Sara (“Song of Sarah”) is also not really a tone poem, or even three tone poems (à la Debussy’s Nocturnes), but a formal three-movement symphony for string orchestra. It was written in 1985, and like much post-modernist music, especially by American composers (though much of the work was written during Silver’s stay in Israel), it is at its core a very ripe, rich, Romantic piece disguised, if you will, by an overlay of 20th-century devices and techniques. I am not ashamed to admit that I love this kind of music. It is beautiful, and that gives me confidence that contemporary composers have not forgotten how to write works that are accessible and appealing, without pandering to commercial kitsch. I’d like to hear more of Silver’s music, for Shirat Sara is technically impressive and emotionally moving, fixed in much the same orbit as that of Daniel Asia (also Seattle born and Jewish—I wonder if a recording of his Breath in a Ram’s Horn will be among future offerings).

Jan Meyerowitz (1915–98) falls musically somewhere in between Avshalomov and Silver. He was born Hans Hermann in Breslau, Germany (now Wroclaw in Poland). His parents converted to Christianity before he was born, and he didn’t even know of his Jewish roots until he was eighteen. He comes with imposing credentials, studying first with Zemlinsky, and then following Hitler’s rise to power in 1933, traveling to Rome where he continued his studies with Respighi and Casella. When the war broke out, he fled first to Belgium, then to southern France, where he was hidden from the Germans by the French singer Marguerite Fricker, whom he subsequently married. Following France’s liberation in 1944, Meyerowitz’s compositions were performed on radio and in concert by such distinguished artists as Jean-Pierre Rampal and Yvonne Loriod. In 1946, Meyerowitz came to the US, where he distinguished himself as a composer of opera, choral, and vocal works, though his catalog also includes a flute concerto, a string quartet, and miscellaneous orchestral and chamber works.

The piece heard here is a symphony in four movements, titled Midrash Esther (1954). It traces in purely orchestral music the festival of Purim story, which tells the tale of the not-terribly-bright Persian king, Ahasuerus, his evil, manipulative court advisor Haman, the beautiful Queen Esther, and Mordechai, Esther’s older cousin. The story, by turns uproariously funny and deadly serious, opens with the king’s wife, Vashti, refusing to do her wifely duties when summoned by Ahasuerus. He is advised to have her publicly executed, so that she should serve as an example to all the married women in the kingdom of what will happen to them if they deny their husbands sex. Ahasuerus, being the Mensa mensch he is, orders Vashti beheaded. Now, he has to find a new wife. All of the young and most beautiful maidens of the kingdom are paraded before him, and from among all of them, whom does he pick? A Jewess, Esther, orphaned cousin of Mordechai. She has no choice but to marry the king. Meanwhile, Haman not only resents Esther because of her Jewish ancestry, but he is further enraged by Mordechai, because the Jew sits at the palace gate and refuses to bow down before him. So, Haman hatches a plot to have all of the Jews of the kingdom exterminated, and persuades the besotted Ahasuerus to sign the decree. Ahasuerus is presently unaware of the fact that his beloved bride Esther is herself a Jewess and among those Haman plans to have killed. Mordechai gets wind of the plot and goes into action, imploring his cousin Esther to intercede with the king. Esther is at first reluctant, for approaching the king unbidden is punishable by death. But Mordechai excoriates her, telling her that her marriage to the king may have been part of God’s own plan to save the Jews, and that if she refuses to intervene, God will find another way, while she will perish. Talk about laying on the Jewish guilt. So Esther gathers up her courage and approaches the king, who is in a receptive mood. She invites him and Haman to a banquet, at which Haman’s evil plot is exposed in front of the king. All ends well, except for Haman and his henchman, who are hanged on the very gallows they had erected for the Jews. Meyerowitz’s score is alternately bold, dramatic, caressingly beautiful in its depiction of Esther, and sweepingly cinematic. Once again, like a number of the other works on these four CDs, the music is post-Romantic in style and gesture, but with enough modern devices and techniques thrown in to identify the piece as mid 20th century, and it is masterfully orchestrated.

Jerry Dubins, FANFARE

Click here to view all available releases in the Milken Archive Series at ArkivMusic.