M1^

I 1!

ti

Thanks to West Center Church & Jer ry Graham.

Produced By Marc WolfExecutive Producers Jeremy Tressler & Marc Wolf

2 Danci (1996) Milton Babbitt lb. 1916) ^2:59)

3 Henry's Lullaby (1998) Robert Martin lb. 1952) (2:01)

Three Duos (1991) Olga Gorelli (b. 1920)4 Paolo e Francesca 11:3015 Silent Moon (1:17)6 Mechanical Man (2:14)

William Anderson 8 Marc Wolf, Guitars

Sechs Musiken (1963) Hans Erich Apostel (1901-1972)7 I. Der Ton E 12:1118 II. Die Melodie (2:03)9 — III. Dec Sechsklang (2:53)

10 IV. Dec Rhythmus (2:23)11 V. Die Fantasie (3:19)12 VI. Dec Ton E 11 :59)

WILLIAM ANDER ON

IAUSMU 1K20TH CENTURY CHAMBER MUSIC FOR THE HOME Recording & Engineering

Mastered byJeremy Tressler, Eonta SoundJeremy Tressler, Eonta Sound

Marc WolfRondo fiir drei Gitarren (1925) Paul Hindemith (1895 - 1963) (2:23) Design & TypographyWilliam Anderson, Oren Fader, and Marc Wolf, Guitars

Rondo fur drei Gitarren published by B. Schott's Sohne, MainzDanci published by C.F. Peters Corporation

Hen ry 's Lullaby is in the composer's manuscriptThree Duos is in the composer's manuscript

Sech Musiken published by Universal EditionHausmusik published by Barenreiter-Verlag, KasselGuitar Variations is in the composer's manuscript

Under the Tafelmusik is in the composer's manuscriptSuite for Guitar published by Doblinger

Cover illustration: Ward W. Willits House by Frank Lloyd Wright.The drawing of Frank Lloyd Wright is Copyright © 2000 The Frank Lloyd

Wright Foundation, Scottsdale, AZ. Used with permission.

© 2000 furious artisans

Thanks to West Center Church & Jer ry Graham.

Produced By Marc WolfExecutive Producers Jeremy Tressler & Marc Wolf

2 Danci (1996) Milton Babbitt lb. 1916) ^2:59)

3 Henry's Lullaby (1998) Robert Martin lb. 1952) (2:01)

Three Duos (1991) Olga Gorelli (b. 1920)4 Paolo e Francesca 11:3015 Silent Moon (1:17)6 Mechanical Man (2:14)

William Anderson 8 Marc Wolf, Guitars

Sechs Musiken (1963) Hans Erich Apostel (1901-1972)7 I. Der Ton E 12:1118 II. Die Melodie (2:03)9 — III. Dec Sechsklang (2:53)

10 IV. Dec Rhythmus (2:23)11 V. Die Fantasie (3:19)12 VI. Dec Ton E 11 :59)

WILLIAM ANDER ON

IAUSMU 1K20TH CENTURY CHAMBER MUSIC FOR THE HOME Recording & Engineering

Mastered byJeremy Tressler, Eonta SoundJeremy Tressler, Eonta Sound

Marc WolfRondo fiir drei Gitarren (1925) Paul Hindemith (1895 - 1963) (2:23) Design & TypographyWilliam Anderson, Oren Fader, and Marc Wolf, Guitars

Rondo fur drei Gitarren published by B. Schott's Sohne, MainzDanci published by C.F. Peters Corporation

Hen ry 's Lullaby is in the composer's manuscriptThree Duos is in the composer's manuscript

Sech Musiken published by Universal EditionHausmusik published by Barenreiter-Verlag, KasselGuitar Variations is in the composer's manuscript

Under the Tafelmusik is in the composer's manuscriptSuite for Guitar published by Doblinger

Cover illustration: Ward W. Willits House by Frank Lloyd Wright.The drawing of Frank Lloyd Wright is Copyright © 2000 The Frank Lloyd

Wright Foundation, Scottsdale, AZ. Used with permission.

© 2000 furious artisans

presented solo and chamber music recitals in the United States, France, Italy,Portugal, Canada, and India, and can be heard regularly in and aroundNew York. Performances of his have been broadcast on Indian NationalRadio and Television, Portuguese National Radio, and also on WQXR andWHUS Radio in the United States. He holds a Bachelor of Arts degree fromPomona College in California, and a Master of Music degree from thePeabody Conservatory in Maryland. He had the good fortune to study inParis for three years with noted French pianist Nicole Henriot-Schweitzer, andin New York has had a long association with Seymour Bernstein. He alsovalues the assistance he has received from Claude Frank and Andre Laplante.Mr. Bhimani teaches in the Music School of the 92nd Street Y in New Yorkand also maintains large private teaching studios in Bronxville, New York,and in Manhattan. He has also taught at New York University and in theMusic Preparatory Department of Concordia College, and gives lectures andworkshops on piano pedagogy, the performance of French piano music, andother topics.

Guitarist Marc Wolf studied classical guitar with David Starobin atPurchase College, and Lute with Pat O'Brien. He has performed in festivals,solo, chamber and orchestral settings and on live radio broadcasts in theU.S., Canada, Europe & Japan. Recording credits include A&M Records,Ultimate, Siltbreeze & others. Mr. Wolf has premiered many new works withguitar including works by Richard-Cameron Wolfe, Robert Martin, MarkRimple, Dory-Jo hn Mizelle & others. As a composer, Mr. Wolf has composedmusic for feature films, television, dance and commercials. In addition he haswritten many articles on music theory & history. Mr. Wolf performs regularlywith flutist Linda Wetherill as the Wolf-Wetherill Duo.

Ernst Krenek 11900-19911 Hausmusik (1959)1. For Klavier vierhandig (1:351 13

2. For Sopran-Blockflote and Gitarre (1 :05) 14

3. For zwei Blockfloten and ein drittes Instrument (2:071 15

4. Fir Violine and Gitarre 11:261 16

5. For Sopron-Blockflote and Violine 10:521 176. For Violine and Klavier 11:291 18

• 7. For Violine, Klavier, Gitarre, and Sopron-Blockflote (0:59) 19loan Forsythe 8 Raj Rhimani, Piano; Tom Zajac, Recorder;

Jacqui Corrasco, Violin, William Anderson, Guitar

William Anderson lb. 1962) Guitar Variations (1994)Var. l 12:16 20

Var. II 11:341 21Var. III (2:05) 22

Var. IV (1:26) 23

Jonathan Dawe )b.1965) Under the Tafelmusik (1998)1 7 :051 24Jacqueline Lecloir, Oboe; lacqui Corrosco, Violin; William Anderson, Guitar

Ernst Krenek Suite (1957)I. Allegro Moderato 11:07) 25

II. Allegro Sostenuto (1:36) 26III. Allegretto 10:44) 27

IV: Larghetto 11:521 28

V: Allegro (1:16) 29

[total time: 58:1 3]

presented solo and chamber music recitals in the United States, France, Italy,Portugal, Canada, and India, and can be heard regularly in and aroundNew York. Performances of his have been broadcast on Indian NationalRadio and Television, Portuguese National Radio, and also on WQXR andWHUS Radio in the United States. He holds a Bachelor of Arts degree fromPomona College in California, and a Master of Music degree from thePeabody Conservatory in Maryland. He had the good fortune to study inParis for three years with noted French pianist Nicole Henriot-Schweitzer, andin New York has had a long association with Seymour Bernstein. He alsovalues the assistance he has received from Claude Frank and Andre Laplante.Mr. Bhimani teaches in the Music School of the 92nd Street Y in New Yorkand also maintains large private teaching studios in Bronxville, New York,and in Manhattan. He has also taught at New York University and in theMusic Preparatory Department of Concordia College, and gives lectures andworkshops on piano pedagogy, the performance of French piano music, andother topics.

Guitarist Marc Wolf studied classical guitar with David Starobin atPurchase College, and Lute with Pat O'Brien. He has performed in festivals,solo, chamber and orchestral settings and on live radio broadcasts in theU.S., Canada, Europe & Japan. Recording credits include A&M Records,Ultimate, Siltbreeze & others. Mr. Wolf has premiered many new works withguitar including works by Richard-Cameron Wolfe, Robert Martin, MarkRimple, Dory-Jo hn Mizelle & others. As a composer, Mr. Wolf has composedmusic for feature films, television, dance and commercials. In addition he haswritten many articles on music theory & history. Mr. Wolf performs regularlywith flutist Linda Wetherill as the Wolf-Wetherill Duo.

Ernst Krenek 11900-19911 Hausmusik (1959)1. For Klavier vierhandig (1:351 13

2. For Sopran-Blockflote and Gitarre (1 :05) 14

3. For zwei Blockfloten and ein drittes Instrument (2:071 15

4. Fir Violine and Gitarre 11:261 16

5. For Sopron-Blockflote and Violine 10:521 176. For Violine and Klavier 11:291 18

• 7. For Violine, Klavier, Gitarre, and Sopron-Blockflote (0:59) 19loan Forsythe 8 Raj Rhimani, Piano; Tom Zajac, Recorder;

Jacqui Corrasco, Violin, William Anderson, Guitar

William Anderson lb. 1962) Guitar Variations (1994)Var. l 12:16 20

Var. II 11:341 21Var. III (2:05) 22

Var. IV (1:26) 23

Jonathan Dawe )b.1965) Under the Tafelmusik (1998)1 7 :051 24Jacqueline Lecloir, Oboe; lacqui Corrosco, Violin; William Anderson, Guitar

Ernst Krenek Suite (1957)I. Allegro Moderato 11:07) 25

II. Allegro Sostenuto (1:36) 26III. Allegretto 10:44) 27

IV: Larghetto 11:521 28

V: Allegro (1:16) 29

[total time: 58:1 3]

WILLIAM ANDERSON

-^ MUSIK

n the late 1 8thcentury musicdevoted

specifically formiddle classa mateurmusicians to playat home began tobe composed,published andconsumed. Thismusic would

come to be known as housmusik. Prior to the advent of hausmusik, there wasTafelmusik, (table-musicl, music to be played during meals; but tafelmusikwas a more aristocratic phenomenon from the era that preceded the greatrise of the middle class. The guitar is a housmusik instrument. While guitaristsSegovia, Bream and Starobin worked hard to make the guitar into a

Company performance of a work choreographed by Twyla Tharp, appearingas musician and 'talking head' in the 1 2-part music education seriesExploring the World of Music for PBS educational television, and performingfor the score of the Ric Burn's documenta ry on the histo ry of New York Citythat aired the Fall of 1999 on PBS. With his group Ex Umbris, he performedat the 5th Millennium Council event in the East Room of the White House, last

,J anuary 25th. Tom teaches at recorder and early music workshops throughoutthe US, is on the faculty of the University of Ma ry land, College Park, anddirects the community-based ensemble, Trinitas in Philadelphia, where heresides.

Pianist Joan Forsyth is a multi-faceted musician who has received criticalacclaim as a soloist and chamber music artist— "Pianista la brava!"...IICorriere della Sera, Arezzo, Italy; "a big lush sound and technique to burn"...the Vancouver Sun. Ms. Forsyth has been heard throughout Europe andthe Americas in a wide range of repertoire, embracing the standard pianoliterature as well as the most recent works. Her prize-winning performances inthe 1990 Concerts Atlantique and La Gesse competitions set in motion toursof France and Switzerland, and since that time she has maintained a livelyconcert schedule. She has collaborated with ensembles including the CassattQuartet, Cygnus, the New Westminster Symphony, the WestchesterPhilharmonic, Modernworksl, and the Theater Chamber Players ofWashington, D.C. n 1998 she performed in Russia at the Europe-AsiaInternational Festival of Modern Music. Her performances have beenbroadcast over WNYC, RAI IItaly ) , Danish National Radio and PolishNational Radio. She can be heard on recordings on the Soundspells andCRi labels.

Raj Bhimani is an active performer, teacher, and adjudicator. He has

WILLIAM ANDERSON

-^ MUSIK

n the late 1 8thcentury musicdevoted

specifically formiddle classa mateurmusicians to playat home began tobe composed,published andconsumed. Thismusic would

come to be known as housmusik. Prior to the advent of hausmusik, there wasTafelmusik, (table-musicl, music to be played during meals; but tafelmusikwas a more aristocratic phenomenon from the era that preceded the greatrise of the middle class. The guitar is a housmusik instrument. While guitaristsSegovia, Bream and Starobin worked hard to make the guitar into a

Company performance of a work choreographed by Twyla Tharp, appearingas musician and 'talking head' in the 1 2-part music education seriesExploring the World of Music for PBS educational television, and performingfor the score of the Ric Burn's documenta ry on the histo ry of New York Citythat aired the Fall of 1999 on PBS. With his group Ex Umbris, he performedat the 5th Millennium Council event in the East Room of the White House, last

,J anuary 25th. Tom teaches at recorder and early music workshops throughoutthe US, is on the faculty of the University of Ma ry land, College Park, anddirects the community-based ensemble, Trinitas in Philadelphia, where heresides.

Pianist Joan Forsyth is a multi-faceted musician who has received criticalacclaim as a soloist and chamber music artist— "Pianista la brava!"...IICorriere della Sera, Arezzo, Italy; "a big lush sound and technique to burn"...the Vancouver Sun. Ms. Forsyth has been heard throughout Europe andthe Americas in a wide range of repertoire, embracing the standard pianoliterature as well as the most recent works. Her prize-winning performances inthe 1990 Concerts Atlantique and La Gesse competitions set in motion toursof France and Switzerland, and since that time she has maintained a livelyconcert schedule. She has collaborated with ensembles including the CassattQuartet, Cygnus, the New Westminster Symphony, the WestchesterPhilharmonic, Modernworksl, and the Theater Chamber Players ofWashington, D.C. n 1998 she performed in Russia at the Europe-AsiaInternational Festival of Modern Music. Her performances have beenbroadcast over WNYC, RAI IItaly ) , Danish National Radio and PolishNational Radio. She can be heard on recordings on the Soundspells andCRi labels.

Raj Bhimani is an active performer, teacher, and adjudicator. He has

old and new. Reviewing his solo New York recital, Guitar Review magazinestated: "His scholarship, technique, and intelligent musicianship are plainlyevident and the beauty of his tone is consistently compelling." He hasperformed in London, Tokyo, Munich, Amsterdam, Montreal, Russia, Mexico,and throughout the United States. At age 23, he was a featured soloist withThe Orpheus Chamber Orchestra, performing the Villa-Lobos guitar concerto.In 2000 he performed Schoenberg's Serenade, under James Levine. Mr.Fader can be heard on numerous recordings, in repertoire ranging from the1 9th Century (Sor) to late 20th (Carter). Mr. Fader received hisundergraduate degree from SUNY Purchase and his Master of Music(Performance) degree from Florida State University. His major teachersinclude David Starobin and Bruce Holzman. Since 1994 Mr. Fader hasdirected the Guitar Chamber Music program at the Manhattan School ofMusic. He is also director of the guitar program at Brevard Music Festival inNorth Carolina.

Tom Zajac specializes in late-medieval and Renaissance music, but hasbeen praised by critics both here and abroad for his exceptional versatility,performing fluently on a wide variety of early instruments. He is a member ofPiffaro, a Renaissance wind band, and the musical-theatrical group ExUmbris. He is a frequent guest artist with the Folger Consort, and hasappeared with many other leading ensembles including the King's Noyse,Newberry Consort, Anonymous 4, Waverly Consort, Concert Royal, andNew York's Ensemble for Early Music. He has appeared on over 25recordings, ranging from Medieval dance to baroque opera, tocontemporary folk-rock, on Dorian, Deutsche Gramophon, Angel EMI, VirginVeritas, Harmonia Mundi, Lyrichord, Windham Hill, and others. Recentprojects include playing hurdy-gurdy for an American Ballet Theater

"serious" concert instrument, the guitar's origins in folk music, salon musicand housmusik are an indelible aspect of the Western musical tradition. Theterms "hausmusik" along with "gebrouchsmusik" futility music) began to beused widely in the 20th century when music began to grow in directions thatbecame increasingly more inscrutable to the middle class which oncesupported it. There is a great tension between the desire to explore musicalpossibilities for their own rewards, and, on the other hand, to acknowledgemusic's role in the everyday lives of the non-musicians. The music assemledhere reflects or comments upon these opposing tendencies, in the spirit ofhousmusik.

In Paul Hindemith's Rondo for three guitars ( 1925), the earliest work onthis recording, one can discern a hint of Hindemith's expressionism, buttempered by jugendstil Chinoiserie—the pentatonic lines. Here the guitarsare evocative of some exotic oriental plucked-string instrument. Like early F. L.Wright houses and central European jugendstil architecture, there is stillornamentation, but it is in the process of transformation, with non-westerninfluences very much in force.

Milton Babbitt's "Danci" takes its title from the Esperanto for "dance".One is struck immediately by the tango rhythms in this little piece. There is acoy flirtation with Ab in one register, echoed shortly thereafter in anotherregister. A climax occurs where the various musical strands come together ina series of octaves. And there is a very tender relationship—the veryopening E—G# is answered later with the same interval in the highestregister of the instrument, reached through an ascendingklangfarbenmelodie, only to dissolve into its own inversion. Another Babbitthallmark is heard here in the protrusion and recession of notes and tangorhythms—in and out; up and down; forward and backward. Babbitt

old and new. Reviewing his solo New York recital, Guitar Review magazinestated: "His scholarship, technique, and intelligent musicianship are plainlyevident and the beauty of his tone is consistently compelling." He hasperformed in London, Tokyo, Munich, Amsterdam, Montreal, Russia, Mexico,and throughout the United States. At age 23, he was a featured soloist withThe Orpheus Chamber Orchestra, performing the Villa-Lobos guitar concerto.In 2000 he performed Schoenberg's Serenade, under James Levine. Mr.Fader can be heard on numerous recordings, in repertoire ranging from the1 9th Century (Sor) to late 20th (Carter). Mr. Fader received hisundergraduate degree from SUNY Purchase and his Master of Music(Performance) degree from Florida State University. His major teachersinclude David Starobin and Bruce Holzman. Since 1994 Mr. Fader hasdirected the Guitar Chamber Music program at the Manhattan School ofMusic. He is also director of the guitar program at Brevard Music Festival inNorth Carolina.

Tom Zajac specializes in late-medieval and Renaissance music, but hasbeen praised by critics both here and abroad for his exceptional versatility,performing fluently on a wide variety of early instruments. He is a member ofPiffaro, a Renaissance wind band, and the musical-theatrical group ExUmbris. He is a frequent guest artist with the Folger Consort, and hasappeared with many other leading ensembles including the King's Noyse,Newberry Consort, Anonymous 4, Waverly Consort, Concert Royal, andNew York's Ensemble for Early Music. He has appeared on over 25recordings, ranging from Medieval dance to baroque opera, tocontemporary folk-rock, on Dorian, Deutsche Gramophon, Angel EMI, VirginVeritas, Harmonia Mundi, Lyrichord, Windham Hill, and others. Recentprojects include playing hurdy-gurdy for an American Ballet Theater

"serious" concert instrument, the guitar's origins in folk music, salon musicand housmusik are an indelible aspect of the Western musical tradition. Theterms "hausmusik" along with "gebrouchsmusik" futility music) began to beused widely in the 20th century when music began to grow in directions thatbecame increasingly more inscrutable to the middle class which oncesupported it. There is a great tension between the desire to explore musicalpossibilities for their own rewards, and, on the other hand, to acknowledgemusic's role in the everyday lives of the non-musicians. The music assemledhere reflects or comments upon these opposing tendencies, in the spirit ofhousmusik.

In Paul Hindemith's Rondo for three guitars ( 1925), the earliest work onthis recording, one can discern a hint of Hindemith's expressionism, buttempered by jugendstil Chinoiserie—the pentatonic lines. Here the guitarsare evocative of some exotic oriental plucked-string instrument. Like early F. L.Wright houses and central European jugendstil architecture, there is stillornamentation, but it is in the process of transformation, with non-westerninfluences very much in force.

Milton Babbitt's "Danci" takes its title from the Esperanto for "dance".One is struck immediately by the tango rhythms in this little piece. There is acoy flirtation with Ab in one register, echoed shortly thereafter in anotherregister. A climax occurs where the various musical strands come together ina series of octaves. And there is a very tender relationship—the veryopening E—G# is answered later with the same interval in the highestregister of the instrument, reached through an ascendingklangfarbenmelodie, only to dissolve into its own inversion. Another Babbitthallmark is heard here in the protrusion and recession of notes and tangorhythms—in and out; up and down; forward and backward. Babbitt

li berated aspects of Schoenberg's music from their Romantic andexpressionistic origins, creating an American music that is jazzy in its wit andspontaneity and Deco in its streamlined economy. The Esperanto title putsforth Danci as a work of welthausmusik, a cosmopolitan contribution to theglobal village.

In Robert Martin's Henry's Lullaby (1 998) there are two levels of restfulresolution that occur. Both of the two repeated phrases jthe piece is an AABBform) end calmly and gently with a very familiar, tonal formula—a tritoneresolving to a third or a sixth. The entire piece is based on this resolution, butuntil the end of each phrase it is always interrupted, as if nagging thoughtsrepeatedly jolt us into consciousness as we are about to drift into sleep, untilwe finally do drift into sleep. However, the resolutions in combination withthe jarring notes soon emerge as a totality that is beautiful unto itself. Thisjuxtaposition of sounds that traditionally would have had to be kept apart inti me suggests a timelessness that is not identical, but is akin to the timelessquality of sleep. It is a reassuring timelessness that comes with theacceptance of the totality. This is in line with the words of one of Martin'sfavorite painters, Cezanne: "Just as the artist has surpassed time byintegrating himself into its rhythm, so is he from now on the master of space.And only now can he say in summary: 'I feel colored by all the nuances ofthe infinite. Henceforth I am one with my painting." Henry's Lullaby waswritten for my son Henry just days after he was born. It is also embedded inthe third movement of Martin's trio for flute, violin and guitar, WinterShadows. Robert Martin is the composer of the epic collection of guitarsolos, duos and trios entitled Diary of a Seducer, which traverses the rangebetween melody and pointillism in remarkable ways. Henry's Lullaby is thefirst of Martin's next envisioned set of guitar solos, The Decameron. "Sleep

Chamber Players, several new music ensembles, and appears with groupssuch as the Jupiter Symphony, The Columbia Sinfonietta and Sospeso. Shehas recently presented classes at schools such as UCLA and the EastmanSchool of Music, and can be heard on labels such as Nonesuch, CRI, Koch,Neuma, and CBS Masterworks. Universal Edition Vienna is publishing"Luciano Berio Sequenza VII Supplementary Edition by Jacqueline Leclair".Ms. Leclair received degrees from the Eastman School of Music and SUNY atStony Brook, where she studied with Richard Killmer and Ronald Roseman.

Jacqui Carrasco has performed as a soloist and chamber musicianthroughout the United States, Canada, Europe, Japan, and Russia, includingsolo appearances at Lincoln Center's Alice Tully Hall and at the Library ofCongress. She has taken an active role in the world of avant-garde andcontemporary music, having premiered works by composers such as SteveReich, Luciano Berio, Morton Feldman, and Earle Brown, and has appearedregularly with New York-based new music groups such as the S.E.M.Ensemble, the Cygnus Ensemble, Anthony Braxton's Tri-Centric Ensemble,Musicians Accord, and Newband. Ms. Carrasco has recordedcontemporary chamber music for the Nonesuch, Mode, and Braxton Houserecord labels and has recently completed a CD of new American music withthe Cygnus Ensemble for the CRI label. Aside from her role in contemporaryand classical music, Ms. Carrasco has performed quite extensively as aviolinist of Argentine tango music. She has joined cellist Yo-Yo Ma in concertand on PBS to celebrate the music of Astor Piazzolla and in 1999 she joinedinternationally renowned tango musicians to make her Philadelphia Orchestrasolo debut. Having previously taught at Princeton University, she is now anAssistant Professor of Music at Wake Forest University.

Oren Fader is active as a performer of classical guitar repertoire, both

li berated aspects of Schoenberg's music from their Romantic andexpressionistic origins, creating an American music that is jazzy in its wit andspontaneity and Deco in its streamlined economy. The Esperanto title putsforth Danci as a work of welthausmusik, a cosmopolitan contribution to theglobal village.

In Robert Martin's Henry's Lullaby (1 998) there are two levels of restfulresolution that occur. Both of the two repeated phrases jthe piece is an AABBform) end calmly and gently with a very familiar, tonal formula—a tritoneresolving to a third or a sixth. The entire piece is based on this resolution, butuntil the end of each phrase it is always interrupted, as if nagging thoughtsrepeatedly jolt us into consciousness as we are about to drift into sleep, untilwe finally do drift into sleep. However, the resolutions in combination withthe jarring notes soon emerge as a totality that is beautiful unto itself. Thisjuxtaposition of sounds that traditionally would have had to be kept apart inti me suggests a timelessness that is not identical, but is akin to the timelessquality of sleep. It is a reassuring timelessness that comes with theacceptance of the totality. This is in line with the words of one of Martin'sfavorite painters, Cezanne: "Just as the artist has surpassed time byintegrating himself into its rhythm, so is he from now on the master of space.And only now can he say in summary: 'I feel colored by all the nuances ofthe infinite. Henceforth I am one with my painting." Henry's Lullaby waswritten for my son Henry just days after he was born. It is also embedded inthe third movement of Martin's trio for flute, violin and guitar, WinterShadows. Robert Martin is the composer of the epic collection of guitarsolos, duos and trios entitled Diary of a Seducer, which traverses the rangebetween melody and pointillism in remarkable ways. Henry's Lullaby is thefirst of Martin's next envisioned set of guitar solos, The Decameron. "Sleep

Chamber Players, several new music ensembles, and appears with groupssuch as the Jupiter Symphony, The Columbia Sinfonietta and Sospeso. Shehas recently presented classes at schools such as UCLA and the EastmanSchool of Music, and can be heard on labels such as Nonesuch, CRI, Koch,Neuma, and CBS Masterworks. Universal Edition Vienna is publishing"Luciano Berio Sequenza VII Supplementary Edition by Jacqueline Leclair".Ms. Leclair received degrees from the Eastman School of Music and SUNY atStony Brook, where she studied with Richard Killmer and Ronald Roseman.

Jacqui Carrasco has performed as a soloist and chamber musicianthroughout the United States, Canada, Europe, Japan, and Russia, includingsolo appearances at Lincoln Center's Alice Tully Hall and at the Library ofCongress. She has taken an active role in the world of avant-garde andcontemporary music, having premiered works by composers such as SteveReich, Luciano Berio, Morton Feldman, and Earle Brown, and has appearedregularly with New York-based new music groups such as the S.E.M.Ensemble, the Cygnus Ensemble, Anthony Braxton's Tri-Centric Ensemble,Musicians Accord, and Newband. Ms. Carrasco has recordedcontemporary chamber music for the Nonesuch, Mode, and Braxton Houserecord labels and has recently completed a CD of new American music withthe Cygnus Ensemble for the CRI label. Aside from her role in contemporaryand classical music, Ms. Carrasco has performed quite extensively as aviolinist of Argentine tango music. She has joined cellist Yo-Yo Ma in concertand on PBS to celebrate the music of Astor Piazzolla and in 1999 she joinedinternationally renowned tango musicians to make her Philadelphia Orchestrasolo debut. Having previously taught at Princeton University, she is now anAssistant Professor of Music at Wake Forest University.

Oren Fader is active as a performer of classical guitar repertoire, both

row is one that Webern used very often.—William Anderson

Notes on The PerformersGuitarist and composer William Anderson is the son of architect

Dorothy Kentner Anderson. He began playing chamber music at theTanglewood Festival in 1981, at age 19, and continued to play there formany more seasons. One of his coaches at Tanglewood was Louis Krasner,the violinist who premiered the Schoenberg and Berg concertos. Andersonworked with Krasner on Krenek's Suite, and on the first Americanperformance of Sandor ,Jemnitz' Trio for guitar, violin and viola. Andersonstudied guitar with Allen Krantz and Christoph Harlan, and ultimately withDavid Starobin, who introduced him to musical circles in New York City.Anderson founded the Cygnus Ensemble in 1985. Since 1993 he has beeninvited to perform in 10 European countries, Mexico, the U.S., and Japan.Also since 1993, he has performed regularly at Washington D.C.'s KennedyCenter with the Theater Chamber Players. Hausmusik is his fourth solo CD.He appears on numerous other recordings on Bridge, Koch, CRi,Soundspells, and Cou-nal (Japan. Anderson teaches guitar at SarahLawrence College and, during the summer, at the Willoughby Guitar Institutein Westmore, Vermont. Anderson's compositions have been heard live andvia radio broadcasts in Holland, Poland, Russia, Denmark, Germany, andMexico, as well as the U.S. He has written music for the Composers Guild ofNew Jersey, the Weekend of Chamber Music, and the Theater ChamberPlayers.

Oboist Jacqueline Leclair currently teaches and performs in the NewYork City area. She is a member of the Cygnus Ensemble, the Vanguard

that knits up the rave/'d sleave of care'=MacbethOlga Gorelli was born in Bologna, and was raised in Dante's city,

Ravenna. Her first compositions were published in Italy when she was tenyears old. She came with her family to the U.S. in 1939 and studied withScalera and Menotti at Curtiss, with Hindemith at Yale, and with Milhaud.Paolo and Francesca are from Dante. Their fate is to spend the hereafter aswinds. Silent Moon is a musical scansion of lines by Leopardi. MechanicalMan is a memory of a Californian street performer who danced like amechanical man until his music stopped. These duos were composed in theearly 90's. I first played them at a house concert given by Ms. Gorelli, whohas made her home into a vital center for musical cultural in central NewJersey.

Hans Erich Apostel was born in Carlsruhe. He was a student of bothSchoenberg and Berg. Grove's Dictionary says, "In Vienna, where his workwas disregarded for some years owing to its antecedents, performanceshave become more frequent again of late." Webern was a spiritual leaderfor many composers after the war because his music suggested a way to getbeyond the romanticism and expressionism of Schoenberg and Berg. Wehear a hint of this Webernian rarefaction in Krenek's fabulous little guitar suiteof 1957, the last piece on this disc. Apostel does not try to make a greatbreak with expressionism, although to me the ending of Der Rhythmus soundsli ke a Stan Kenton ending, and in general there is a jazzy brevity andlightheartedness in these works, suggesting a new expressionism adapted tothe Pax Americana. Numbers 2, 3, and 4 are among the most ambitiouscontrapuntal guitar textures ever conceived by a non-guitarist. In the lastpiece the music evaporates in a fantastic kind of distillation process. SechsMusiken was composed in the early '60's.

row is one that Webern used very often.—William Anderson

Notes on The PerformersGuitarist and composer William Anderson is the son of architect

Dorothy Kentner Anderson. He began playing chamber music at theTanglewood Festival in 1981, at age 19, and continued to play there formany more seasons. One of his coaches at Tanglewood was Louis Krasner,the violinist who premiered the Schoenberg and Berg concertos. Andersonworked with Krasner on Krenek's Suite, and on the first Americanperformance of Sandor ,Jemnitz' Trio for guitar, violin and viola. Andersonstudied guitar with Allen Krantz and Christoph Harlan, and ultimately withDavid Starobin, who introduced him to musical circles in New York City.Anderson founded the Cygnus Ensemble in 1985. Since 1993 he has beeninvited to perform in 10 European countries, Mexico, the U.S., and Japan.Also since 1993, he has performed regularly at Washington D.C.'s KennedyCenter with the Theater Chamber Players. Hausmusik is his fourth solo CD.He appears on numerous other recordings on Bridge, Koch, CRi,Soundspells, and Cou-nal (Japan. Anderson teaches guitar at SarahLawrence College and, during the summer, at the Willoughby Guitar Institutein Westmore, Vermont. Anderson's compositions have been heard live andvia radio broadcasts in Holland, Poland, Russia, Denmark, Germany, andMexico, as well as the U.S. He has written music for the Composers Guild ofNew Jersey, the Weekend of Chamber Music, and the Theater ChamberPlayers.

Oboist Jacqueline Leclair currently teaches and performs in the NewYork City area. She is a member of the Cygnus Ensemble, the Vanguard

that knits up the rave/'d sleave of care'=MacbethOlga Gorelli was born in Bologna, and was raised in Dante's city,

Ravenna. Her first compositions were published in Italy when she was tenyears old. She came with her family to the U.S. in 1939 and studied withScalera and Menotti at Curtiss, with Hindemith at Yale, and with Milhaud.Paolo and Francesca are from Dante. Their fate is to spend the hereafter aswinds. Silent Moon is a musical scansion of lines by Leopardi. MechanicalMan is a memory of a Californian street performer who danced like amechanical man until his music stopped. These duos were composed in theearly 90's. I first played them at a house concert given by Ms. Gorelli, whohas made her home into a vital center for musical cultural in central NewJersey.

Hans Erich Apostel was born in Carlsruhe. He was a student of bothSchoenberg and Berg. Grove's Dictionary says, "In Vienna, where his workwas disregarded for some years owing to its antecedents, performanceshave become more frequent again of late." Webern was a spiritual leaderfor many composers after the war because his music suggested a way to getbeyond the romanticism and expressionism of Schoenberg and Berg. Wehear a hint of this Webernian rarefaction in Krenek's fabulous little guitar suiteof 1957, the last piece on this disc. Apostel does not try to make a greatbreak with expressionism, although to me the ending of Der Rhythmus soundsli ke a Stan Kenton ending, and in general there is a jazzy brevity andlightheartedness in these works, suggesting a new expressionism adapted tothe Pax Americana. Numbers 2, 3, and 4 are among the most ambitiouscontrapuntal guitar textures ever conceived by a non-guitarist. In the lastpiece the music evaporates in a fantastic kind of distillation process. SechsMusiken was composed in the early '60's.

Ernst Krenek studied with Schrecker in Vienna and Berlin.and became amajor figure in Vienna. He married one of Mohler's daughters. When heemigrated to the U.S. in 1938, avoiding the nazis, he was the most famousli ving European composer, largely due to the huge success of his opera,Johnny Spielt Auf. That work used jazz idioms, and it was the first opera tohave a black character and also the first in which the telephone was used.Krenek's music began in a post-Wagnerian vein, delved into atonality, andflirted with jazz. In the 20's Krenek gave a lecture arguing againstSchoenberg's 1 2-tone practice, but later Krenek developed a similar practicewhich he employed extensively. Hausmusik was composed in Princeton, Nin 1959, and is subtitled Seven Pieces for the Seven Days of the Week forPiano, Violin, Guitar and Recorders. The piece takes on a double role. Itaddresses the problem of modern music moving farther and farther from theti cket purchasing audience, and it also touches upon the issue of the demiseof the German/Austrian musical tradition following the second world war.The renowned expatriate composer is replanting the seeds of his culturethrough these seven musical lessons, and at the some ti me he is educating hisfuture public. Shortly after Richard Strauss had composed his great elegies forGerman Culture ( Metamorphosen and the Four Last Songs), Krenekresponded to the new situation with these lessons for others to learn to loveand understand the culture which he hoped might survive in some form in thenew post-war world.

In the 19th centu ry variations for solo guitar of Sor, Giuliani and others,it is often the case that the 7th in the dominant 7 chord migrates throughregisters as the variations proceed. It is usually in the slow variation that the7th winds up in the bass, causing the earth to tremble, just a bit. We see thisregister migration in my Guitar Variations from 1994, where I employ a

si mple process suggested by both the melody and the harmonization of thepop song that is treated, Jerome Kern's Long Ago and Far Away.

A device used by Stravinsky, rotational arrays are built from strands ofnotes, cycled, transposed, and repeatedly stacked. Such dimensionaldesigns, imbued with symmetries and recursions, lead to a complex floweringof the original pitch material. In Jonathan Dawe's Under the Tafelmusik^ 1 998) uses melodies taken from Telemann's Tafelmusik. Six preexistingpassages act as the primary panels from which the balance of the music ismade. As an outcome of these operations, many expressions of the Baroqueborrowings are recast into a new drama. Threads of connections are madeto Telemann's tunes, some direct, some quite distant. Jonathan Dawe studiedwith Milton Babbitt and Richard Hoffman. His music is widely performed,and he has won awards from the American Academy of Arts and Letters, theFromm Foundation, the Presser Foundation, ASCAP, and BMI. He is now onthe graduate faculty of the Juilliard School.

Ernst Krenek's Suite for solo guitar is a universe away from hisHausmusik. Yet they were written within a few years of one another. In acertain respect, Hausmusik is the more complex work, despite its outwardsi mplicity and its intention to be very accessible. At the risk of oversimplifying,Hausmusik behaves more like serial music, while the Suite is 1 2-tone. Serialmusic articulates background motion in the very some way that melodiesdelineate chord progressions in tonal music. In serial music, the melodiesland prominently on certain notes, often landing in the same place more thanonce, creating focal pitches. The focal pitches may then move much moreslowly than the surface, creating a depth to the texture in a manner that isidentical and indeed descended from the way old fashioned tonal musicbehaves. The Suite's Webernian feel has much to do with the fact that the

Ernst Krenek studied with Schrecker in Vienna and Berlin.and became amajor figure in Vienna. He married one of Mohler's daughters. When heemigrated to the U.S. in 1938, avoiding the nazis, he was the most famousli ving European composer, largely due to the huge success of his opera,Johnny Spielt Auf. That work used jazz idioms, and it was the first opera tohave a black character and also the first in which the telephone was used.Krenek's music began in a post-Wagnerian vein, delved into atonality, andflirted with jazz. In the 20's Krenek gave a lecture arguing againstSchoenberg's 1 2-tone practice, but later Krenek developed a similar practicewhich he employed extensively. Hausmusik was composed in Princeton, Nin 1959, and is subtitled Seven Pieces for the Seven Days of the Week forPiano, Violin, Guitar and Recorders. The piece takes on a double role. Itaddresses the problem of modern music moving farther and farther from theti cket purchasing audience, and it also touches upon the issue of the demiseof the German/Austrian musical tradition following the second world war.The renowned expatriate composer is replanting the seeds of his culturethrough these seven musical lessons, and at the some ti me he is educating hisfuture public. Shortly after Richard Strauss had composed his great elegies forGerman Culture ( Metamorphosen and the Four Last Songs), Krenekresponded to the new situation with these lessons for others to learn to loveand understand the culture which he hoped might survive in some form in thenew post-war world.

In the 19th centu ry variations for solo guitar of Sor, Giuliani and others,it is often the case that the 7th in the dominant 7 chord migrates throughregisters as the variations proceed. It is usually in the slow variation that the7th winds up in the bass, causing the earth to tremble, just a bit. We see thisregister migration in my Guitar Variations from 1994, where I employ a

si mple process suggested by both the melody and the harmonization of thepop song that is treated, Jerome Kern's Long Ago and Far Away.

A device used by Stravinsky, rotational arrays are built from strands ofnotes, cycled, transposed, and repeatedly stacked. Such dimensionaldesigns, imbued with symmetries and recursions, lead to a complex floweringof the original pitch material. In Jonathan Dawe's Under the Tafelmusik^ 1 998) uses melodies taken from Telemann's Tafelmusik. Six preexistingpassages act as the primary panels from which the balance of the music ismade. As an outcome of these operations, many expressions of the Baroqueborrowings are recast into a new drama. Threads of connections are madeto Telemann's tunes, some direct, some quite distant. Jonathan Dawe studiedwith Milton Babbitt and Richard Hoffman. His music is widely performed,and he has won awards from the American Academy of Arts and Letters, theFromm Foundation, the Presser Foundation, ASCAP, and BMI. He is now onthe graduate faculty of the Juilliard School.

Ernst Krenek's Suite for solo guitar is a universe away from hisHausmusik. Yet they were written within a few years of one another. In acertain respect, Hausmusik is the more complex work, despite its outwardsi mplicity and its intention to be very accessible. At the risk of oversimplifying,Hausmusik behaves more like serial music, while the Suite is 1 2-tone. Serialmusic articulates background motion in the very some way that melodiesdelineate chord progressions in tonal music. In serial music, the melodiesland prominently on certain notes, often landing in the same place more thanonce, creating focal pitches. The focal pitches may then move much moreslowly than the surface, creating a depth to the texture in a manner that isidentical and indeed descended from the way old fashioned tonal musicbehaves. The Suite's Webernian feel has much to do with the fact that the

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