One of the first truly American-born and -bred composers, Leo Sowerby wrote organ music that came straight from the heartland. From his early studies in Grand Rapids, Michigan to his successful career in Chicago, Sowerby revitalized organ music with a body of work rivaling Bach in terms of both quantity and quality.
Sowerby was fascinated by traditional forms, and his 'Classic Concerto' explores many of these structures. Within its three brief movements, it gives an excellent introduction to Sowerby's playful sense of harmony. 'Medieval Poem' and 'Pageant,' both written earlier, also delve into traditional themes.
'Festival Musick' is an audience favorite, bright and playful. Its sense of humor is evident to occasional listeners as well as those more intimately versed in organ music. Composed during a single week in summer, it is one of Sowerby's last compositions.
Both organists involved with this album have the remarkable technical skill and performing panache to bring Sowerby to life. The rich sound of the organ at St. Bartholomew's Church in New York City and accompaniment of the Fairfield Orchestra have been captured masterfully. WORKS FOR ORGAN AND ORCHESTRA is a well-performed and expertly engineered recording.

The first real school of American composers arrived in the last quarter of the 19th century and were known as the Boston classicists. Comprised largely of well-to-do New Englanders who were trained in Europe by way of Harvard and worshipped Brahms, they were a pretty conservative bunch all around. Prominent among them was Arthur Foote of Salem, Massachusetts. His studies with John Knowles Paine at Harvard culminated in the first graduate degree in music ever granted by an American university and though he did not go on to study in Germany, he spent the following summer at Bayreuth soaking up the rays before returning to Boston to teach, compose and serve as choirmaster and organist of the First Unitarian Church.
Foote's chamber music is strongly influenced by Mendelssohn and Brahms, neoclassical in outlook, graceful and lyrical with little hint of storm or stress. This disc, featuring the Piano Quintet along with the Op. 32 and Op. 70 string quartets, is one of two of all-Foote releases which are part of Naxos' admirable American Classics series. The recordings feature the Da Vinci Quartet, a very good Colorado-based ensemble which has undertaken the performance of all of this composer's chamber works.

Barbagallo is every bit the piano-bard that MacDowell could have wished for...the recording communicating, however, the energy and range Barbagallo can deliver in person. I could listen to this fine player in just about any repertory he chooses
- American Record Guide

Meredith Willson, certainly one of the most remarkable individuals in the history of American music, is finally given his due by these world premiere recordings of his two symphonies of 1936 and 1940.
The First Symphony was written as a commemorative piece for the 30th anniversary of the San Francisco earthquake of 1916. But rather than recall the horror of that event, the piece is more of a tone poem celebrating the city. The second movement, however, is poignant in its evocation of a city rebuilding itself. The rising opening violin line, emulating a rebirth out of the ashes, is particularly effective.
The Second Symphony, another work celebrating the glory of California, has a vague Spanish character to it as it pays homage to Father Junipero Serra, a "padre-pioneer" in the words of Willson. As with the First Symphony, the outstanding movement is the Andante with its veiled references to Gregorian chant and its Spanish motives as an allusion to the Spanish mission founded by Serra.
William Stromberg, a conductor who has an affinity for performing film music, is to be commended for bringing to light these once forgotten works with sterling performances from the Moscow Symphony Orchestra.

The Grands Motets on this disc (Exaudiat, Notus in Judaea Deus and Benedictus) are scored for five soloists, five-part choir and orchestra. Although averaging only a quarter of an hour in length, they are nevertheless broad in conception. Le Concert Spirituel certainly does not tiptoe around these works but rather throw themselves into their performances with élan.

The three Grands Motets are interspersed with Lully's settings of O dulcissime Domine and Laudate pueri Dominum. The two women's voices in O dulcissime Domine interweave magically over a continuo accompaniment. The highlight, however, is the first motet, Exaudiat te Dominus. The opening is lively and joyous, contrasting with the sad, heart-felt setting of Domine salvum fac. Le Concert Spirituel bring out the contrasts in the Dormierunt section of Notus in Judaea Deus well, and respond to the grandiose passages in the Benedictus. It is only in this latter piece that the generally crisp and rhythmic articulation flags.

The curious should not hesitate. The recording is in general good, although the harpsichord sounds dull. Full texts and translations are included.

-- Colin Clarke, MusicWeb International

American music is culturally diverse and exciting, mirroring all the best America has to offer. The last two centuries have seen an extraordinary flowering of musical life in the United States. In recognition of the many gifted American men and women of music, Naxos is pleased to present the American Classic Series.

When complete, this series will consist of over 200 titles, exploring the full spectrum of American concert music. All the familiar names are there: Copland, Ives, Grofé, Barber, and Sousa but so are many others such as: Bennett, Dédé, Foote, McKay, and Siegmeister all of whom have contributed to the rich musical tapestry that is American.

All of us at Naxos invite you to journey with us as we set out to discover America.


Click Here for the complete Naxos American Classic Series

This inventive album presents Tchaikovsky's occasionally heard songs in arrangements for violin and orchestra by Peter Breiner. Although the songs may not often be performed today by singers, these irresistible melodies provide justification enough to be heard in this almost equally satisfying form: "Why?", "Not a word, O my friend", and "The fearful minute" are among the composer's most inspired creations and should be heard more often. A few, however, such as the ever-popular "None But the Lonely Heart", need the soulful evocation of the human voice to make their full effect. Ljuba Kazarnovskaya's vocal recital (also on Naxos) demonstrates what a great singer can bring to this impassioned music.

But overall Takako Nishizaki's beautiful singing tone and sweetly-wrought phrasing, partnered with Breiner's affectionate conducting, make these transcriptions pleasing and satisfying musical experiences, even without the love poems that were Tchaikovsky's main impetus. My only caveat concerns the disc's tracking order: placing so many slow and similar-key selections together unavoidably engenders feelings of monotony. But since this easily can be remedied with the CD's programmability, there's no reason for you to hesitate about obtaining this serene, relaxing disc. Naxos' atmospheric recording balances Nishizaki's violin significantly forward relative to the orchestra.

--Victor Carr Jr., ClassicsToday.com

Gershwin began work on An American in Paris in the spring of 1928 and it's première by the New York Philharmonic Orchestra under Walter Damrosch took place later that year on 13 th December in Carnegie Hall (three years earlier in the same venue Damrosch had conducted the first performance of Gershwin's Piano Concerto in F). In this hugely popular one-movement symphonic poem, whose colorful orchestration includes four saxophones and several taxi horns, the composer intended 'to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises and absorbs the French atmosphere'. The melancholic blues theme announced by the solo trumpet, suggesting a sudden bout of homesickness on the part of the protagonist, is one of the finest Gershwin wrote. Following the première in Boston's Symphony Hall of his Second Rhapsody, conducted by Serge Koussevitsky on 29 th January 1932, Gershwin and several friends took a two-week holiday in Havana. The composer, fascinated by the small Cuban dance orchestras with their novel rhythms and unusual percussion instruments such as guiros, maracas, claves and bongos, was inspired to write the Cuban Overture. He orchestrated the work between 1 st and 9 th August 1932, completing it just a week before the first All-Gershwin Concert at the Lewisohn Stadium in New York, an open-air concert attended by some 18,000 people which was, according to the composer, 'the most exciting night I have ever had'. Cast in Gershwin's characteristic fast-slow-fast form, he wrote that he had 'endeavored to combine the Cuban rhythms with my original thematic material. The result is a symphonic overture which embodies the essence of Cuban dance'. Gershwin's magnum opus, the three-act opera Porgy and Bess, was written to a libretto by DuBose Heyward and Ira Gershwin. Based on Heyward's novel Porgy about life among the black inhabitants of Catfish Row in Charleston, South Carolina, the opera was started in late February 1934 and the seven hundred page full score was completed in September 1935. Heyward memorably described the idiosyncratic working methods of the Gershwin brothers, who 'would get at the piano, pound, wrangle, swear, burst into weird snatches of song, and eventually emerge with a polished lyric'. It numbers amongst it's classic songs 'Summertime', 'I Loves You, Porgy' and 'It Ain't Necessarily So'. The orchestral suite heard on this recording, the Symphonic Picture from Porgy and Bess arranged by Robert Russell Bennett, has become the standard version since it's première in 1943, this despite the fact that Gershwin made his own arrangement in 1936. Evidently long forgotten about by the time Bennett made his arrangement, Gershwin's suite was retitled Catfish Row by Ira when it was rediscovered in 1958. The opera, a commercial and critical failure at the time, is now recognized as one of the greatest achievements of twentieth-century American music.

Elliott Carter makes his Naxos début with an ear-catching programme

It’s very good news that Naxos has added Elliott Carter to its American Classics series, beginning with a strong programme of rarely heard pieces, and juxtaposing Carter in early populist vein with Carter the 1960s’ avant-gardist in full cry.

The wartime muscularity of the Symphony No 1 (completed in 1942 but heard here in its 1954 revision) is clearest in passages which echo, or anticipate, Copland’s more extrovert orchestral scores of the same period. But that triumphalist spirit is most productively on show in Carter’s splendidly brash Holiday Overture (1944). The Symphony as a whole is less straightforward, more varied in style and character, and the slow movement in particular moves from hymnic meditation into more ambiguous regions of expression in a manner that might not be completely convincing. It is certainly distinctive, however, and fits well with the balance between restraint and exuberance that typifies the work as a whole.

By the mid-1960s, when the Piano Concerto was composed, Carter’s language had shed its tonal roots, and his forms were far more distant from those traditions that are still traceable in the Symphony. Textures are immensely elaborate, yet the music is uninhibitedly dramatic, depicting all kinds of conflicts and attempted reconciliations while subjecting the basic concept of the concerto to penetrating critical scrutiny.

The power of the drama emerging from the constantly fluctuating confrontations between soloist, main orchestra, and a mediating concertino-group of seven players is rather muted in this recording, which (I suspect) is not the result of a preparatory series of public performances. Ursula Oppens, with Michael Gielen, managed to convey rather more of the music’s inherent fire and tumult. But Mark Wait shows a finely gauged technical command, and although Kenneth Schermerhorn and his Nashville players are occasionally underpowered and inclined to play safe, the jubilant conclusion of the Holiday Overture sweeps any interpretative reservations aside. With the symphony not otherwise available, this disc is a thoroughly recommendable addition to the Naxos American canon.

-- Arnold Whittall, Gramophone [3/2004]

Sir John Tavener describes the Lament for Jerusalem as a mystical love song. The Lament brings together Christian, Judaic, and Islamic texts and is sung in Greek and English. The musical structure is that of a lattice whose proportions are carefully designed so that the listener is invited to focus on key points of the text which are themselves supported by transcendental melodic, harmonic, and textural devices. The simplicity of the work's form and it's logical progression through a series of seven linked, self-referential tableaux allow the Lament to grow in power and beauty during it's course. The American composer Steve Reich has described some of his own music as purveying 'a kind of dynamic stasis' and that aptly sums up the effect of Tavener's Lament for Jerusalem. The Lament is rooted in grim tradition, yet it looks longingly into the future to a time when beatific vision is restored, and, as in much of the very greatest art, form and content are inseparable.

This third volume of Naxos' ongoing series of Liszt tone poems under Michael Halász is easily the best so far. These pieces have such a bad reputation today that I suspect listeners may be surprised to discover that they contain quite a bit of really attractive music. Festklänge begins with one of Liszt's most arresting ideas, remarkably modern in character with harmony that doesn't have to be chromatic to sound interesting. Halász and the New Zealand Symphony deliver a sparkling performance, impulsive and rhythmically taut, and the work sounds much shorter than its 18-minute length might suggest. That is no mean achievement in music that admittedly has structural issues and tends to drag in less enthusiastic hands.


Ce qu'on entend sur la montagne also goes very well. The natural sonics capture the atmospheric opening (with its then-novel bass drum rolls) very effectively. If you know your Sibelius, you will recognize these first few minutes as the conceptual forebear of the Finnish composer's En Saga. Yes, the work's various sections tend to lie side by side rather than flow inevitably into one another, but it's a lovely piece that doesn't deserve its current neglect in the concert hall. Hunnenschlacht is just plain fun: a noisy battle followed by an organ-led apotheosis. Once again Halász and company deliver the goods, with fine playing and a vivid sense of drama. Also, to their credit, they don't linger over the less-interesting music representing the "good guys". In short, these are intelligent and effective performances that deliver maximum bang for your buck. Give them a shot.
--David Hurwitz, ClassicsToday.com

Not too many listeners are Dybbuk admirers, and even Bernstein's supporters find this music less interesting than much else that he wrote. The fact that the music resorts to some dodecaphonic and numerological compositional techniques isn't a point in its favor, though in actual sonority it's entirely characteristic of Bernstein, and at this late date it's easy to hear that his personality inhabits every bar. If there's a problem with the piece, it likely stems from the fact that the overall impression it makes is a bit glum, lacking in that special snap that makes his best work so memorable. Certainly the supernatural subject is a dark one, and it calls forth plenty of eerie, atmospheric scoring; but the actual musical material seems stretched thinly over the work's 45 minutes (48, if you're the composer). Bernstein recorded the complete work for Sony, but broke it up into a pair of suites for his DG remakes. I do prefer the original; the music is what it is, and over time it has grown on me--and might well do so for you too.


Fancy Free of course is delightful, and often recorded, but this performance holds its own with the best--and I frankly prefer Andrew Mogrelia to the composer in Dybbuk. He's just that much livelier, and the Nashville Symphony sounds as inside the idiom as the New York Philharmonic of several decades' past. This newcomer also is better recorded than Bernstein's performances either on Sony or DG, and the excellent version of "Hot Stuff" that opens Fancy Free also is a plus. If you're a Bernstein fan, you will certainly want this.
--David Hurwitz, ClassicsToday.com

Gioachino Rossini’s remarkable life and career is well known: the opera composer who, with the world at his feet, appeared to retire at the age of 37. He had around 17 years of huge success with operas such as Il Barbiere di Siviglia, and after completing his last opera Guillaume Tell, he had another 39 years of ‘silence’. The second period of his life was in fact anything but silent, and Rossini would later turn up with pieces such as the Stabat Mater and the wonderful Petit messe solennelle.

More private were the creations which became collected as the Péchés de vieillesse or ‘Sins of Old Age’, which are contained in fourteen volumes. Some of these are for voice and piano, others, such as volume IX, include pieces with strings, harmonium and horn, the solo piano works from which appear at the end of this programme. Album de Chaumière or ‘The Cottage Album’ is the no doubt ironically twee title given to volume VII, the first of the albums for solo piano. This consists of 12 pieces ranging from titles such as Petite polka chinoise to works of a grander scale such as Une pensée à Florence. Rossini’s attitude with these works is frequently ironic and often deceptive. Confronted with a title such as Prélude inoffensif, one might expect something other than the extended lyrical aria which in fact appears. The generally light character of many of the pieces is interspersed with more searching, funereal atmospheres such as that in Un profound sommeil, and Un cauchemar – literally ‘A Nightmare’. In these pieces we are not so very far removed from the symbolic cries of the owl in Leoš Janá?ek’s ‘On a Overgrown Path.’ On the complete opposite there are parody-like pieces such as the bombastic Marche which closes Vol. VII.

Alessandro Marangoni is a young pianist and a rising star whose reputation will in no way be harmed with these recordings. Whatever one thinks of these ‘Sins of Old Age’ they are certainly a fascinatingly enigmatic and eclectic mixture of Rossini in all moods. Fans of the Petit messe solenelle must certainly investigate these pieces, as the thick piano chords and bouncy bass lines which crop up in that work are certainly not absent here. Fans of Rossini’s operas are also kept well fed with rich melodic invention, if performed instrumentally rather than vocally. This Naxos recording is very good, with a rich, deep piano sound, if captured in a rather dry and tubby acoustic. The impression is one of a front room soirée rather than a concert hall performance, which isn’t such a bad thing for these pieces. I do however feel that a slightly more sympathetic space might have helped Alessandro Marangoni when trying to give a more legato feel, or in varying the colour and mood. The pieces come across a little on the lumpy side sometimes, and the contrast between some of the works is less startling than might otherwise have been the case.

This new series will have to compete with the recordings by Stefan Irmer on MDG, and although there is no information on the instrument used in the Naxos recording – other than that it is a Steinway & Sons from the Angelo Fabbrini collection, it gives the impression of being an older instrument, a quality it would then share with the MDG recordings. The bass has a pleasant rounded quality, and the usual Steinway brightness only really shines through in the upper registers at higher volume. Any reservations I may have can be accounted for as a matter of personal taste, so nothing I say should stop anyone from dropping into their local retailer and bagging this remarkable release forthwith. This is going to turn into another of Naxos’s eminently collectable sets, and on this showing will prove to be worth it at almost any price.

-- Dominy Clements, MusicWeb International

Wolf-Ferrari's comic opera La Vedova Scaltra (The Cunning Widow), is among the works he based on plays by Goldoni. It matches closely the conventions of 18th-century opera buffa in it's witty if skeptical look at the mechanisms governing the interplay of human relations. This production, filmed live at the Teatro La Fenice in February 2007 in celebration of the 300th anniversary of the birth of Goldoni in Venice in 1707, is the first to appear on DVD. Anne-Lise Sollied, Maurizio Muraro, and Emanuele D'Aguanno star with Karl Martin conducting in this 2 DVD set.

Some delightful piano works in the spirit of Haydn and Mozart.

This release marks another disc in the lengthening series of Kuhlau’s compositions on Naxos.

Kuhlau, born in 1786 to a musician with the German Army, began his musical education in Lüneburg with piano, and also began to compose at that time. Around 1800 he studied with C. F. G. Schwenke, the man who succeeded C. P. E. Bach in the position as Hamburg Stadtkantor. By 1804, Kuhlau was in the process of launching his career as a pianist in earnest. Blind in one eye since childhood, Kuhlau fled to Copenhagen under an alias to avoid mandatory military service; his half-blindness evidently did not compel the authorities to exempt him. He eventually became a naturalised citizen of Denmark and established his base there for the rest of his life.

Known to this reviewer primarily for his compositions for flute — various discs have been released recently of his flute sonatas and trios on Naxos and other labels. Kuhlau also produced a number of other pieces, primarily for chamber ensembles.

The works on offer on the present disc are short and charming, with most movements lasting no longer than three minutes. Jandó does right, I think, in keeping the performances simple and straightforward. The object of these pieces is not to impress or give a listener a good deal of food for thought. These are meant primarily to entertain. They are likely to be familiar to piano students worldwide. There isn’t much here that would surprise the listener, but there are a few moments of particular interest, such as the unexpected similarity of the opening movement of the Sonatina in A minor, Op. 88 No. 3 to Beethoven’s 1810 Für Elise. Another standout is the opening Allegro maestoso of the Op. 55 No. 6 Sonatina in C which, with its length of just over seven minutes, allows for a bit more mulling over of its thematic material.

The recording aesthetic for this disc is just what one would expect from Naxos: warm ambience without losing presence or definition. Jandó gives these pieces a clean and clear performance. Quite a pleasant disc for casual listening.

-- David Blomenberg, MusicWeb International

Schoenberg' polyphonic tone poem Pelleas und Melisande is often compared to Debussy' opera based on the same text by Maurice Maeterlinck. According to the composer, "The first performance, 1905, in Vienna, under my own direction, provoked riots amo.

An eclectic collection, colourful and often arresting.

Mussorgsky’s Pictures were originally composed for the piano. In that form he created a spacious canvas necessitating something of a symphonic sound from the piano. This proved exquisitely demanding and only a few brave pianists, including Prokofiev, dared to scale its fearsome crags. Maurice Ravel, to whom we owe its renown, was paid 10,000 francs to orchestrate it for Serge Koussevitzky. But as one might look at and interpret a picture in many different ways so then different sonic paint brushes might offer alternative views and insights? Thus Leonard Slatkin’s notion to bring together an eclectic selection of arrangements, some quite outlandish, might seem fresh and appealing?

D. Wilson-Ochoa is the Nashville Symphony’s Principal Music Librarian and former horn player. His neat opening ‘Promenade’ [1] was arranged, using woodwinds, at first, then pizzicato strings. This walking bass/cello line leads into the orchestral build-up, to give the impression of the visitor arriving at the gallery with mounting excitement and anticipation of seeing its treasures. Sergey Gorchakov’s portrait of Gnomus [2] is simpler, more sober and menacing than Ravel’s; his colours darker. Walter Goehr’s ‘Promenade’ [3] is calmly introspective as the visitor passes thoughtfully on; it features sensitive use of solo strings, double woodwind and muted brass. Emile Naoumoff’s entrancing arrangement of Il vecchio castello [4] has, at its heart, a glistening piano solo with woodwinds and cellos sounding the lilting Italian Sicilienne – absolutely gorgeous. Van Keulen’s ‘Promenade’ [5] is a much grander walk while his Tuileries [6] is a perky arrangement full of childish mischief and high spirits. Wind and brass are delicately mixed - woodwinds supported by muted trombones and trumpet – to create an appealing pastel. Conductor/pianist Vladimir Ashkenazy makes an impact with four horns in unison. Low strings and heavy percussion are used to underline the heaviness of Bydlo his picture of the Polish cart on enormous wheels [7].

Carl Simpson’s ‘Promenade’ [8] is brief and straightforward but with an unexpected cheeky cheep anticipating – Ballet of the unhatched chicks [9]. Lucien Cailliet was a student of Vincent D’Indy, His arrangement exerts his imaginative faculties to the full, out Ravel-ing Ravel. He makes exuberant use of wood-block, rattle and a flutter-tonguing blast from the trumpet. Sir Henry Wood’s vision of the Two Jews … [10] markedly underlines the differences between the two: the rich one glowering and overwhelming and the cowering pauper. The next ‘Promenade’ [11] (and the one that Ravel left out) is by Lawrence Leonard. It’s grand too , in terms of its rich harmonies and orchestrations; carrying on the self-regarded magnificence - one might say - of the rich Jew. Leo Funtek’s picture of French women arguing around a market square in Limoges, Le marché [12] makes for a snappy riot of colour. Funtek surmounts its challenges of articulation through its brief 1:26 of presto writing. The Catacombae [13] of John Boyd, demonstrates his experience with wind, brass and percussion. It is a haunted subterranean vision and is more menacing than Ravel’s portrait. It leads seamlessly into Ravel’s own arrangement of Con mortuis in lingua mortua [14]. As David Nice says, “the French master’s subtle halos and shadows remain uniquely evocative.’ That wonderful orchestrator, Leopold Stokowski, adds his characteristically vivid colouring to The hut on fowl’s legs (Baba-Yaga) [15]. This is a satanic portrait using four trumpets and eight horns supported by shrill whistling upper woods, to evoke Baba-Yaga’s terror-filling flight.

The concluding The Bogatyr Gate at Kiev [16] is the most substantial picture. Douglas Gamley paints this massive gate in resplendent colours using to fine effect the chorus of the Nashville Symphony and an organ. What magnificence - magnificence to rival 1812!

Liszt’s first surviving piano concerto was sketched out in 1832, when the composer was 21. It was only orchestrated 17 years later, with the help of the young composer Joachim Raff. Its first performance in 1853 at Weimar was conducted by Berlioz. Revisions followed in 1857. Its three movements are cyclically connected. This striking live recording of Peng Peng’s articulate and polished reading is sturdy in the portentous episodes and sensitively shaded in the quieter and more introspective passages. Slatkin gives sterling support.

Rob Mathes’s arrangement of The Star Spangled Banner was commissioned by the National Symphony Orchestra under its conductor Leonard Slatkin. It was conceived as a eulogy on the tragedy of 9/11. This performance - part grandiloquent, part restrained - is affecting.

Instead of the familiar Ravel orchestrations of Mussorgsky’s Pictures here is an eclectic collection of alternatives, always colourful and often arresting.

-- Ian Lace, MusicWeb International

TAVENER Ex Maria virgine. Birthday Sleep. O Do Not Move. A Nativity. Marienhymne. O Thou Gentle Light. Angels • Timothy Brown, dir; Clare College Cambridge Ch • NAXOS 8.572168 (63:46 Text and Translation)


Two of the selections are first recordings: Ex Maria virgine , the major work at 38 minutes, and Marienhymne . The other works are not widely available, for Birthday Sleep was recorded by Stephen Layton (28:4), A Nativity by Matthew Greenall (not issued over here), and Angels by David Hill (23: 2). I cannot find the first recordings of the other two pieces.


Marienhymne is sung in German, while O Thou Gentle Light is sung in Greek (the ancient hymn Phos hiláron , which Dom Lucien David also set as a neo-Gregorian chant). The earliest work on the program, Angels , dates from 1985.


The major work is a setting of nine age-old texts in Latin or English separated by a refrain, “Ex Maria virgine,” the first movement being repeated at the end. One movement has a Greek refrain, the original of “hail, Mary,” but the first word is pronounced “kay-ray” rather than “ky-ruh.” The composer has a devoted following, so these accomplished performances will delight them.


FANFARE: J. F. Weber