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- Mozart: Concerto for 2 Pianos and Orchestra No. 10 in E flat, K365
- Mozart: Piano Concerto No. 20 in D minor, K466
- Liszt: Piano Concerto No. 1 in E flat major, S124
- Mendelssohn: Piano Concerto No. 1 in G minor, Op. 25
- Beethoven: Piano Concerto No. 3 in C minor, Op. 37
- Gershwin: Rhapsody in Blue
- Chambers, J C: All American
- Gould, M: Symphonette No. 4 'Latin-American'
- Reddick: Espanharlem
- Iturbi: Soliloquy
- Mozart: Sonata for 2 pianos in D major, K448
- Chabrier: Trois Valses Romantiques
- Iturbi: Spanish Dance
- Debussy: En blanc et noir
- Milhaud: Scaramouche, suite for two pianos, Op. 165b
- Nepomuceno: La siesta
- Infante: Guadalquivir
- Infante: Sevillana
- Debussy: Suite bergamasque: Clair de lune
- Liszt: Liebestraum, S541 No. 3 (Nocturne in A flat major)
- Debussy: Rêverie
- Beethoven: Für Elise (Bagatelle in A minor, WoO59)
- Schumann: Arabeske in C major, Op. 18
- Debussy: Deux arabesques, L. 66
- Falla: Dance of Terror (from El amor brujo)
- Rachmaninoff: Prelude Op. 3 No. 2 in C sharp minor
- Liszt: Les jeux d'eaux à la Villa d'Este, S. 163 No. 4)
- Falla: Ritual Fire Dance (from El amor brujo)
- Saint-Saëns: Allegro appassionato, Op. 70
- Albéniz: Malagueña (No. 3 from Espana, Op. 165)
- Chopin: Étude Op. 10 No. 12 in C minor ‘Revolutionary'
- Chopin: Polonaise No. 6 in A flat major, Op. 53 'Héroïque'
- Debussy: Estampe No. 3 - Jardins sous la pluie
- Schumann: Romance in F sharp major, Op. 28 No. 2
- Chopin: Prelude Op. 28 No. 9 in E major
- Chopin: Prelude Op. 28 No. 10 in C sharp minor
- Chopin: Prelude Op. 28 No. 15 in D flat major ‘Raindrop'
- Chopin: Nocturne No. 9 in B major, Op. 32 No. 1
- López-Chavarri: El viejo castillo moro
- Iturbi: Cancion de cuna
- Granados: Orientale (No. 2 from 12 Danzas españolas)
- Chopin: Mazurka No. 6 in A minor, Op. 7 No. 2
- Chopin: Mazurka No. 7 in F minor, Op. 7 No. 3
- Chopin: Mazurka No. 24 in C major, Op. 33 No. 3
- Chopin: Mazurka No. 27 in E minor, Op. 41 No. 2
- Chopin: Mazurka No. 25 in B minor, Op. 33 No. 4
- Chopin: Scherzo No. 2 in B flat minor, Op. 31
- Debussy: Children's Corner
- Ravel: Jeux d'eau
- Guastavino: Gato
- Mozart: Concerto for 2 Pianos and Orchestra No. 10 in E flat, K365
- Mozart: Piano Concerto No. 20 in D minor, K466
- Beethoven: Piano Concerto No. 3 in C minor, Op. 37
- Gershwin: Rhapsody in Blue
- Ravel: Pavane pour une infante défunte
- Bach, J S: Passacaglia in C minor, BWV582
- Mozart: Piano Sonata No. 11 in A major, K331 'Alla Turca'
- Mozart: Piano Sonata No. 12 in F major, K332
- Chopin: Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu'
- Chopin: Waltz No. 6 in D flat major, Op. 64 No. 1 'Minute Waltz'
- Chopin: Waltz No. 7 in C sharp minor, Op. 64 No. 2
- Chopin: Mazurka No. 5 in B flat major, Op. 7 No. 1
- Albéniz: Sevilla (from Suite Española, Op. 47)
- Granados: Goyescas: Quejas ó La Maja y el Ruiseñor
- Scarlatti, D: Keyboard Sonata K27 in B minor
- Scarlatti, D: Keyboard Sonata K159 in C major 'La caccia'
- Paradies: Toccata in A
- Iturbi: Pequena danza espanola
- Beethoven: Andante Favori in F, WoO 57
- Albéniz: Cantos de España (5), Op. 232, No. 4
- Lazăr, F: Piano Sonata No. 2 in F Minor, Op. 15: III Tempo di Marcia funebre
- Saint-Saëns: Caprice arabe, Op. 96
- Debussy: L'isle joyeuse
- Infante: Danze andaluse (for 2 pianos): No. 2 Sentimento
- Debussy: Deux arabesques, L. 66
- Bach, J S: Fantasia in C minor, BWV906
- Granados: Danza española, Op. 37 No. 10 'Melancólica'
- Gould, M: Boogie Woogie Etude
- Gould, M: Blues
- Falla: Ritual Fire Dance (from El amor brujo)
- Falla: Dance of Terror (from El amor brujo)
- Debussy: Suite bergamasque: Clair de lune
- Liszt: Liebestraum, S541 No. 3 (Nocturne in A flat major)
- Chopin: Polonaise No. 6 in A flat major, Op. 53 'Héroïque'
- Schumann: Arabeske in C major, Op. 18
- Debussy: Rêverie
- Haydn: Theme and Variations in C major, Hob.XVII:5
- Paderewski: Minuet in G major, Op. 14 No. 1
- Beethoven: Für Elise (Bagatelle in A minor, WoO59)
- Schumann: Träumerei (from Kinderszenen, Op. 15)
- Ravel: Pavane pour une infante défunte
- Rachmaninoff: Humoresque in G major, Op. 10 No. 5
- Infante: Danses andalouses
- Tchaikovsky: The Seasons, Op. 37b: June (Barcarolle)
- Tchaikovsky: The Seasons, Op. 37b: November (Troika)
- Mussorgsky: Une Larme (A Tear)
- Mendelssohn: Symphony No. 3 in A minor, Op. 56 'Scottish'
- Dvořák: Symphony No. 9 in E minor, Op. 95 'From the New World'
- Liszt: Hungarian Rhapsody, S244 No. 14 in F minor
- Falla: El sombrero de tres picos: Dance of the Neighbours (Seguidillas)
- Falla: El sombrero de tres picos: Danza del molinero (farruca)
- Falla: El sombrero de tres picos: Final Dance (Jota)
- Palau Boix: Marche burlesque
- Palau Boix: Hommage a Debussy
- Iturbi: Seguidillas
- Cuesta: Danza valenciana in A major
- Falla: Siete Canciones populares españolas
- Turina: Homenaje a Lope de Vega, Op. 90: I. Cuando tan hermosa os miro
- Granados: Danza española, Op. 37 No. 8 'Sardana'
- Granados: Danza española, Op. 37 No. 12 'Arabesca'
- Granados: Danza española, Op. 37 No. 9 'Romántica'
- Turina: Mujeres Españolas, Series 1, Op. 17: 2. La andaluza sentimental
- Turina: Mujeres Españolas, Series 1, Op. 17: 3. La morena coqueta
- Infante: Pochades andalouses: Canto flamenco
- Infante: ochades andalouses: Danse gitane
- Infante: Pochades andalouses: Aniers sur la route de Seville
- Infante: Pochades andalouses: Tientos
- Albéniz: Granada (from Suite española No. 1, Op. 47)
- Albéniz: Córdoba (No. 4 from Cantos de España, Op. 232)
- Cuesta: Danza valenciana in G major
- Lecuona: Malagueña
- Griffes: The White Peacock
- Infante: Guadalquivir
- Infante: Pochades andalouses: Ritmo
- Mozart: Sonata for 2 pianos in D major, K448: Allegro molto
- Granados: El Pelele
- Granados: Goyescas (piano suite)
- Ravel: Valses nobles et sentimentales
- Chabrier: Scherzo-valse (No. 10 from Pièces pittoresques)
- Chabrier: Idylle (No. 6 from Pièces pittoresques)
- Chabrier: Bourrée Fantasque
- Schubert: Valses Sentimentales, D 779 Op. 50 (Excerpts)
- Schubert: 12 Valses Nobles, D 969 Op. 77: selection
- López-Chavarri: Danza de las labradoras Valencianas
- Shostakovich: Prelude for piano, Op. 34 No. 2 in A minor
- Shostakovich: Prelude for piano, Op. 34 No. 14 in E flat minor
- Shostakovich: Prelude for piano, Op. 34 No. 24 in D minor
- Fauré: Impromptu No. 3 in A flat major Op. 34
- Mozart: Piano Sonata No. 13 in B flat major, K333
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Barkauskas: Jeux; Partita etc. / Graffin, Imai, Vilnius Festival Orchestra, Lithuanian NSO
Avie Records · Jun 2005CD$19.99 -
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SaleCurtis K. Hughes: Tulpa / Sentient Robots, Boston Percussion Group
New Focus Recordings · Apr 2021CD$20.99$10.49 -
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The Rediscovered RCA Victor Recordings / José Iturbi
This collection stands as a valuable time capsule from which one comes away with a fuller understanding of Iturbi’s prominence in American wartime and postwar culture.
The complete RCA Victor Recordings by José Iturbi from 1933 to 1953, include his piano duo recordings with sister Amparo Iturbi as well as Amparo Iturbi’s solo recordings on 16 CDs, restored and remastered from the original lacquer discs and analogue tapes using high-resolution 24 bit/192 kHz mastering technology with about 95% of the recordings appearing on CD for the first time and 23 pieces previously unreleased. As well as a new, captivating essay by Grammy-nominated singer, pianist, and music anthropologist Michael Feinstein on the life and work of José Iturbi and a photo book with previously unseen photos and facsimiles from the Iturbi Archives in Hollywood.
There was a time when classical music was a natural part of Hollywood. From the moments with Jascha Heifetz in They Shall Have Music (1939) to the unrivaled performances of Oscar Levant and Isaac Stern in Humoresque (1946). In its Golden Era, Hollywood adorned itself with the Who's Who of classical music. Today, alongside icons such as Marylin Monroe and James Dean, the names of Leonard Bernstein, Maria Callas and Arturo Toscanini, as well as Rudolf Serkin, Joseph Szigeti, or José Iturbi were immortalized on the famous Hollywood Walk of Fame. This edition is a loving homage to Hollywood in the 1940s and 1950s, made possible through the generous support of the José Iturbi Foundation and the Hollywood Museum Board of Directors, who contributed to the lavish restoration of many previously lost unpublished recordings. The publication was also made possible by contributions of singer, pianist, and music archivist Michael Feinstein, the Ambassador for the Great American Songbook.
REVIEW:
During the 1940s and 1950s the “World’s Most Popular Classical Pianist” mantle fell comfortably upon José Iturbi (1895-1980). His recognition as a radio personality led to a movie career that yielded ten feature films between 1943 and 1951 where the pianist mostly starred as himself. Yet for all of Iturbi’s renown, he was hardly a poseur. He worked with Wanda Landowska in Paris, and gave Stravinsky’s Piano Rag Music its world premiere, as well as the first complete Carnegie Hall performance of Liszt’s Transcendental Etudes.
He also conducted. When Eugene Ormandy assumed the Philadelphia Orchestra’s music directorship in 1936, his chief rival for the position was Iturbi, who wound up taking charge of the Rochester Philharmonic that same year. Once Hollywood beckoned, however, Iturbi became the brunt of intellectual critics, who basically wrote him off as a sell-out and an artistic lightweight.
Time, of course, brings perspective, and Sony/BMG’s lavishly produced 16-CD collection containing Iturbi’s complete RCA Victor recordings invites a fairly thorough examination of the musician behind the personality, plus an opportunity to reassess a largely forgotten body of recorded work. A 188-page coffee table book contains photos in abundance, with all original-jacket artwork represented, including the most politically incorrect cover art ever to grace Dvorák’s “New World” symphony. We get complete session and release discographies, an Iturbi filmography, plus a brilliant in-depth biographical essay by Michael Feinstein, who co-produced this collection with Robert Russ.
It’s a pity that the session discography is not cross-referenced to corresponding CD tracks, not to mention the absence of a discography by composer. This makes it difficult to navigate the contents with ease, especially in works that Iturbi recorded more than once. For example, it took some sleuthing on my part to discover that Discs 5 and 11 each contained the Liszt Liebestraum No. 3, Schumann Arabeske, Debussy Reverie, and Chopin Polonaise in A-flat Op. 53, and that the performances were not identical.
With few notable exceptions, Iturbi’s solo recordings mostly consist of short, encore-length pieces. He’s especially at home in Spanish music: Iturbi’s accentuation, phrasing, and timing throughout Falla’s Ritual Fire Dance define perfection, while he shapes Granados’ Spanish Dance No. 2 (“Oriental’) with sensitivity and tenderness. Classical selections also stand out for Iturbi’s bracing articulation. True, the outer movements of his Mozart K. 331 and 332 sonata recordings are overly facile and insufficiently inflected when measured alongside contemporaneous Mozartean rivals like Schnabel, Gieseking, Fischer, and Haskil. Yet the sheer evenness and poised symmetry of Iturbi’s finger-work easily explains why pianists like Julius Katchen and William Kapell praised his Mozart.
Iturbi also revels in the Haydn C major Theme and Variations’ sly wit. By contrast, introspection and sobriety characterize Iturbi’s measured unfolding of Beethoven’s Andante favori. Similar gravitas elevates Paderewski’s Minuet in G to near-masterpiece status. Iturbi’s virtuosic glitter befits his dashing Saint-Saëns Allegro appassionato more than in his glib Liszt Les jeux d’eaux à la Villa d’Este.
Iturbi’s Chopin hits and misses. His Mazurkas lack the ardency and rhythmic snap that distinguishes a Second Scherzo that gets better as it progresses. Also note the pianist’s dotting the duple rhythms in the A-flat Polonaise’s main theme that Horowitz, Rubinstein, and Lhevinne play straight on their rival RCA versions.
The later recordings reveal Iturbi’s pianism losing some of its erstwhile luster and subtlety, possibly exaggerated by the close microphone placement and twangy patina typical of late 1940s/early 1950s piano recordings stemming from RCA’s Hollywood recording studio. For example, the two Debussy Arabesques recorded in New York in 1939 have a supple elegance missing in their glassy-sounding 1950 Hollywood counterparts (sound clips). The blustery, hard-toned, and harshly engineered Liszt Concerto No. 1, Mendelssohn Concerto No. 1, and Beethoven Concerto No. 3 were non-starters in their day, with the piano way up in the mix, relegating the crackerjack RCA Symphony musicians to doormat status. Still, the Mendelssohn’s outer movements feature some of Iturbi’s most scintillating pianism on disc.
While Iturbi’s two-piano distribution of the solo part of Gershwin’s Rhapsody in Blue is surprisingly effective and discreet, he and his pianist sister Amparo turn in a crass, alternately whipped up, and sappily sentimentalized interpretation. Works of Mozart, Debussy, and Milhaud better represent their dazzling ensemble rapport, but again, the boxy, claustrophobic engineering undermines their efforts. Similar dryness typifies Amparo’s idiomatic solo recordings of Spanish repertoire. Still, it’s nice to have her rare 1954 Granados Goyescas back in circulation, although it pales alongside Alicia de Larrocha’s far more nuanced and texturally differentiated interpretation from the following year.
The collection also showcases Iturbi’s work on the podium. His 1940 Rochester Philharmonic versions of the Mozart D minor and Beethoven C minor concertos are more judiciously balanced than his orchestrally superior 1952 RCA Victor Symphony remakes. Each contains lively and engaging outer movements that flank wooden, hard-toned slow movements.
Iturbi’s 1951 Liszt Hungarian Fantasy with the Valencia Symphony Orchestra has a snarling rawness that differs from the sheen and suavity of the 1952 Arrau/Ormandy and late 1940s Solomon and Moiseiwitsch editions. As with many second-tier American orchestras in the 1940s, the Rochester Philharmonic boasted strong strings but less proficient winds and brass. Consequently, Iturbi’s Mendelssohn “Scottish” Symphony took a back seat to Mitropoulos’ powerful 1941 Minneapolis version, while the aforementioned Dvorák New World lacked the Szell/Czech Philharmonic recording’s flavorful ensemble discipline.
The prize of Iturbi’s Rochester discography is a snazzy and brilliantly turned-out Morton Gould “Latin American” Symphonette, which is surprisingly well-engineered for its 1944 vintage. Another delightful curiosity is William J. Reddick’s Espanharlem, a brief orchestral work whose quick changing moods and jazzy underpinnings wouldn’t be out of place in a Carl Stalling Bugs Bunny cartoon soundtrack. There’s also a previously unpublished recording conducted by Werner Janssen of Iturbi’s orchestral composition Soliloquy. The piece amounts to 14 and a half minutes’ worth of rambling 1940s film music clichés filtered through third-rate Lecuona. Why Iturbi is credited as piano soloist when there’s no piano to be heard is anyone’s guess!
Notwithstanding the artistic unevenness of Iturbi’s recorded output he always had the self-respect to keep his technique in world-class repair, unlike his rival classical pianist turned media personality Oscar Levant. Still, music lovers who don’t want to go the whole hog, so to speak, are directed to APR’s 2016 three-disc solo Iturbi compilation. I also hope to see Iturbi’s post-cinema EMI recordings restored. However, beyond purely musical considerations, Sony/BMG’s collection stands as a valuable time capsule from which one comes away with a fuller understanding of Iturbi’s prominence in American wartime and postwar culture.
-- ClassicsToday.com (Jed Distler)
CONTENTS:
Soloist & Partner / Rudolf Firkusny
“You don’t need a teacher; what you need is an audience.” Those were the words of the great pianist and teacher Alfred Cortot, after the young Rudolf Firkušný had auditioned for him in Paris. Born in southern Moravia in 1912, Firkušný and his mother moved to Brünn after the death of his father. The boy’s musical ability was already in evidence at the domestic piano, where he enthusiastically played by ear tunes that he had heard. A friend of the family accordingly recommended him to the local conservatory, whose teachers included Leoš Janácek. Firkušný’s relationship to Janácek and his works would do much to shape his international career. Janácek concentrated principally on music theory and composition. His career as a concert pianist began in London in 1933 and he was soon playing in the great centres of music across Europe. He travelled to New York in 1938 and went on to tour North and South America. The German occupation of Czechoslovakia in 1939 prompted him to take refuge in Paris, from where he travelled to the USA by way of Portugal in 1940. The persecution and expulsion of Jews from large parts of Europe resulted in a tremendous enrichment of American cultural life by Jewish émigrés. Under the direction of Erich Leinsdorf, the Metropolitan Opera soon assembled a Wagner ensemble of world-class singers; conductors like William Steinberg and George Szell placed their stamp upon orchestras with new repertoire, and the concert halls opened their doors to European soloists. A celebrated concert of 1941 in New York’s Town Hall gave Rudolf Firkušný his own opening to a successful career in the New World. This was further enhanced by his grand tour of South America in 1943 and showed no sign of abating when he returned to his native Czechoslovakia after the end of the war.
REVIEW:
Really special are the violin sonatas op. 120 Nos. 1 & 2 in the version for viola and piano, with violist William Primrose clearly dominating the interpretations. The various piano pieces are technically excellent. A highlight is the very sensitively played sonata by César Franck with the Vienna-born violinist Erica Morini, an artist who formed an ideal duo with Firkusny. Their performances of the Beethoven sonatas in this collection are excellent too. This box also contains only one of Beethoven’s concertos, the Fifth, in a grandiose, energetic and lean interpretation. Firkusny (1912-1994) plays brilliantly and with the greatest precision. But the superiority of the performance is ultimately due to the perfect collaboration between Firkusny and the conductor William Steinberg, who allows the Pittsburgh Symphony to play just as transparently and precisely with a springy, slender sound. Firkusny plays the Piano Sonatas No. 8 (Pathétique), 14 (Moonlight), 21 (Waldstein) with the greatest clarity and attention to detail, with little pedal, and it is certainly not bad to hear these works sometimes so objectively and yet excitingly. Profil’s collection also includes more or less inspired solo recordings of works by Schumann, Schubert, Mozart and Debussy, a very good Piano Sonata in B minor by Chopin, rich in details and sensitively played, as well as Mussorgsky’s Pictures at an Exhibition played with bravura.
Really special are the violin sonatas op. 120 Nos. 1 & 2 in the version for viola and piano, with violist William Primrose clearly dominating the interpretations. The various piano pieces are technically excellent.
Another highlight is the very sensitively played sonata by César Franck with the Vienna-born violinist Erica Morini, an artist who formed an ideal duo with Firkusny. Their performances of the Beethoven sonatas in this collection are excellent too.
Firkusny's playing in the Beethoven Fifth is brilliant, exhibiting the greatest precision. But the superiority of the performance is ultimately due to the perfect collaboration between Firkusny and the conductor William Steinberg, who allows the Pittsburgh Symphony to play just as transparently and precisely with a springy, slender sound.
Firkusny plays the Piano Sonatas No. 8 (Pathétique), 14 (Moonlight), 21 (Waldstein) with the greatest clarity and attention to detail, with little pedal, and it is certainly not bad to hear these works sometimes so objectively and yet excitingly.
Profil’s collection also includes more or less inspired solo recordings of works by Schumann, Schubert, Mozart and Debussy, a very good Piano Sonata in B minor by Chopin, rich in details and sensitively played, as well as Mussorgsky’s Pictures at an Exhibition played with bravura.
– Pizzicato (Remy Franck)
Schubert: Chamber Works / Little, Hugh, Lane
The electrifying and long-standing collaborative partnership of Tasmin Little and Piers Lane returns to Chandos for this double-album featuring Schubert’s complete works for violin and piano, combined with the ‘Arpeggione’ Sonata and the Adagio in E flat for piano trio, all highly emotive masterpieces.They are joined by cellist Tim Hugh, ‘a musician with compelling insight into the creative urge behind the notes’ (The Times). Gramophone praised this duo’s album (CHAN 10749) for the artists’ ‘complete understanding and spontaneity’ and ‘moments of true musical virtuosity’.
Barkauskas: Jeux; Partita etc. / Graffin, Imai, Vilnius Festival Orchestra, Lithuanian NSO
“I have always associated Vilnius with two things – the birthplace of the legendary Jascha Heifetz, and also a composer named Vytautas Barkauskas, whose best-known work for solo violin, Partita, I have loved since I was a teenager. When the opportunity came for me to give a concert in the Lithuanian capital, I went in search of both.” So said the enterprising violinist Philippe Graffin.
Philippe’s enquiring mind took him on a journey that led to this CD featuring works by Lithuania’s most notable living composer, including the world-premiere recording of the Duo Concertante for violin, viola and orchestra, with leading Japanese violist Nobuko Imai. Barkauskas’ music is bold and atmospheric, a compelling and powerful aural experience. He says, “Music is everything for me: miracle, mysticism, celebration, profession, pleasure, and ultimately – the reason for living!”
Vytautas BARKAUSKUS (b. 1931)
1. – 7. Jeux for violin and orchestra, Op. 117 (2003) dedicated to Philippe Graffin (20:51)
8. – 12. Partita for violin solo, Op. 12 (1967) (5:57)
13. – 14. 2 Monologues for viola solo, Op.71 (1983/2004) dedicated to Nobuko Imai (10:16)
15. – 19. Duo Concertante for violin, viola & orchestra, Op. 122 (2004) dedicated to Chiune and Yukiko Sugihara (28:29)
Gypsy Dreams
Franck & Strauss: Sonatas for Violin & Piano
Kouvaras: Complete Solo Piano Music & Chamber Music, Vol. 1
As with many other Australian composers, the music of Linda Kouvaras (b. 1960) has a strong sense of wide-open spaces, expressed in lyrical, elegiac melodic lines that soar over freewheeling Lisztian piano textures and atmospheric echoes of French Impressionism. In this first album of a series presenting all of her instrumental works, chamber music, and songs written since 1991, she also addresses two major contemporary issues, with a duo for saxophone and piano exploring the human response to the COVID-19 pandemic, and a song-cycle confronting domestic violence from a woman’s viewpoint.
Curtis K. Hughes: Tulpa / Sentient Robots, Boston Percussion Group
Curtis K. Hughes' "Tulpa" is a collection of his rhythmically incisive music heard in solo, duo, and ensemble settings, and culminating in the title work for ten players and guest soprano. The Boston based Hughes writes from a deep collaborative connection with his performers, crafting pieces that balance harmonic adventure with stylistic diversity, and political subtext with sardonic humor. The music of Curtis K. Hughes (b. 1974) is characterized by its rhythmic restlessness, its harmonic adventurousness and its often volatile mix of diverse stylistic elements and political subtexts. It has been described as "fiery" in the New York Times, "well crafted" in the Phoenix, and "colorfully scored" in the Boston Globe. A professor of composition at the Boston Conservatory since 2008, Curtis was a student of composers Lee Hyla and Evan Ziporyn, and is a graduate of Oberlin College and Conservatory, and of the New England Conservatory (NEC), which honored him in 2010 with its Outstanding Alumni Award.
Beethoven: Symphonies, Vol. 5 / Uys, Schoeman
KEEP ME IN MIND / LET ME COUNT THE REASONS
