David Gaines has been recognized by both critics and colleagues for his imaginative orchestrations and uniquely eclectic style. His music has been performed across the United States and Europe by performers as diverse as the Bulgarian Esperanto Choir, trombonist Eileen Meyer Russell, violinist Darel Stark, professional flute/tuba duo Double Play, the Peabody Wind Ensemble, and the Moravian Philharmonic. His output – which Records International has said “succeeds in creating its own approachable style, with impressive lyricism in slow movements and a real sense of power and purpose” – includes two symphonies, concertos for baritone saxophone, trombone, and euphonium, plus a variety of chamber, choral, and electronic music, most of which is available in both CD and digital download formats.
Gaines is best known for his second symphony, The Lion of Panjshir, which the Washington Post called "a milestone in the canon of symphonic band literature...a substantial work that transcends cultural barriers." Additionally, author Sebastian Junger wrote that "people who know nothing of Massoud or Afghanistan will be stunned by the sheer power of the composition, and people who are familiar with these topics will be reduced to tears. It is a tremendous piece of work."
Gaines holds degrees from Northwestern University, American University, and Johns Hopkins University’s Peabody Conservatory of Music and studied under M. William Karlins, Stephen Syverud, Jerzy Sapieyevski, Jean Eichelberger Ivey, and Robert Sirota. A former adjunct associate professor at University of Maryland University College, he resides in Rockville, Maryland with his wife Alaina Allen.
Timothy Gaylard, Professor of Music, holds a Ph.D. in Musicology from Columbia University, Artist Diplomas from the Royal Conservatory of Music at the University of Toronto and the Mozarteum in Salzburg, and B.A. and B.M. degrees from Carlton University.close
Self-taught composer and pianist Brian Gillett was born in 1972 in Marietta, GA. His facility with extemporization colored his development as a composer, and an improvisatory character underlies many of his compositions.
In 1995 he enrolled in McGill University Faculty of Medicine in Montreal, QC. Four years later, he settled in New York as both a composer and medical doctor. Dr. Gillett presently resides in Brooklyn, where he composes and works as an Emergency Medicine physician. As a secular Jewish composer, his neo-romantic minimalism often resonates with Judaic tonality.
Gillett's integration of Art and Science – two ostensibly disparate worlds – into one balanced texture is also paralleled in his compositional style. Rooted in extemporization, and often comprised of dissimilar sounds, his rich sonic textures fuse elements of romanticism and the avant-garde.
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Barber, Adler, Van der Roost, Seroff, Gillett, Lach Lau, CrosbySculpting The Air: Modern Works For Wind Instruments
Warren Gooch's (b. 1953) music has been performed throughout North America, Europe, Asia and Latin America. His work has been recognized by the National Federation of Music Clubs, Minnesota Orchestra, American Choral Directors Association, Music Teachers National Association, Percussive Arts Society, International Trumpet Guild, College Music Society, Music Educators National Conference, the Composers Guild, Composers and Songwriters International, Collegiate Band Directors National Association, American Composers Forum and numerous other organizations. He is the recipient of over thirty composition awards and paid commissions, and has over thirty works available from Southern, Dorn, Kjos, Alliance, Colla Voce and other publishers.
A native of Duluth, Minnesota, Gooch received his doctorate from the University of Wisconsin. He has studied with Stephen Dembski, Joel Naumann, Thomas Wegren, Mary Mageau, Eric Stokes and other composers, representing varied aesthetic philosophies ranging from those of George Crumb and Milton Babbitt to those of Howard Hansen and Nadia Boulenger. This broad compositional background has informed Gooch's own diverse, comprehensive and eclectic style.
Gooch's work as music theorist has been recognized by the College Music Society, and Gooch has authored a manual in the Benward/Saker Music in Theory and Practice textbook series published by McGraw-Hill. Professional affiliations include BMI, Society of Composers, American Composers Forum, Phi Mu Alpha Sinfonia, Pi Kappa Lambda, College Music Society, Macro Analysis Creative Research Organization, Music Teachers National Association, Music Educators National Conference, Christian Fellowship of Art Music Composers, Iowa Composers Forum and others.
Gooch currently chairs the Theory-Composition area and coordinates the Master of Arts in Music program at Truman State University. In 2012, he was named the University’s Outstanding Educator of the Year. He is also actively involved in church music.
The composer Jerome David Goodman (b. 1933) is also known as Jerome D. Goodman, M.D. The admixture of music with medicine and his entire academic career was the result of being born into a family in which music was of central importance. His mother was graduated as a pianist from Peabody Conservatory in Baltimore. His father was a cardiologist, and although not a musician himself, promoted Goodman and his sister Judy, a talented pianist, toward musical performance. Young Goodman enjoyed listening to his sister practice Bach, Chopin, Beethoven, and Debussy while lying on the carpet next to the piano. It was an intimate and early introduction to fine music.
At age 5 Goodman began piano study, but progress was slowed by his mixed dominance of handedness, a trait that turned out to be helpful in playing a stringed instrument. At 6 years of age, he was presented with a half-sized cello, and his affinity for the instrument was immediate. Goodman began weekly lessons at Settlement Music School in Philadelphia. A fellow student and friend at the school was Jules Eskin, who later became principal cellist of the Boston Symphony. The boys studied with the same teachers, such as Benar Heifetz, the principal cellist of the NBC Symphony. Goodman continued his studies during an extended summer enrollment in Julliard Preparatory Program in New York City.
By age 12 Goodman was featured in a recital at the old Times Hall in New York. It could be said that his compositional career started there. During the playing of a full Bach Suite, Goodman became lost, and to cover his errors he improvised several sections until his memory restored him to a remembered place, and all this done without pause. However, this episode caused him so much anxiety that he vowed never again to perform without music on the floor, or at least readily available to view.
The next teacher was Maurice Eisenberg, a Casals disciple who offered Goodman a lesson with Gregor Piatigorsky, the foremost cellist of the day. Piatigorsky, a large imposing man, remarked that Goodman had an anatomically perfect hand for the cello, with his spatulate fingers affording the advantage that the left hand could hold the strings down to the fingerboard with considerable strength.
Goodman became a finalist for the Philadelphia Orchestra Youth Soloist Competition. In the venerable Philadelphia Academy of Music, with only stage lights lit, Goodman played much of the Saint-Saens First Cello Concerto, accompanied on piano by his sister. After the performance, one of the judges, the principal cellist of the orchestra, approached him, and requested a further sample of his playing, to which Goodman replied that he had played enough. He was at this age more maverick than diplomat!
Two other finalists from that competition were good friends, and the three boys formed a piano violin-cello trio that became quite popular performing at afternoon teas and soirees on the Main Line, the affluent suburb of Philadelphia. It was the tray of tea sandwiches and bowls of sweets that charmed the boys, while it was their energy and talent that engaged the ladies, as they played Mendelsohn, Beethoven and Dvorák trios.
At age 16 Goodman was among the youngest to be accepted to the Tanglewood Music Program, where he played and studied chamber music. He also was seated in the second stand of the school preparatory orchestra, which was conducted by such luminaries as Serge Koussevitsky, Aaron Copland, and Leonard Bernstein. The following year, Goodman was recruited by Anshel Brusilow, the concertmaster of the Philadelphia Orchestra, to join him and Leon Fleischer for a series of chamber music concerts at La Domaine, a school in Maine which provided an orchestra for conductors who came for tutorials presided over by the internationally-renowned conductor Pierre Monteux. Some of the conductor-pupils included Lorne Maazel, Andre Previn, Neville Mainer and David Zinman. Goodman played principal cello in the orchestra for three summers, and presented a joint recital with Samuel Lipman, a pianist colleague. Goodman basked in the privileged status accorded him that summer. Monteux was fond of him, and gave him some private instruction in his cottage. Monteux also enjoyed playing viola in two piano quartets. After all, he said, he had played viola in the world premiere of the Debussy String Quartet!
These musical experiences were going on while Goodman was entered into Swarthmore College, where he decided to major in Biological Sciences, then finally in the pre-medical program. Throughout his college years, Goodman continued to perform and study music. In 1955, the year of his graduation from college, he performed the Elgar Cello Concerto with the combined Swarthmore-Haverford-Bryn Mawr orchestra, under the baton of William Reese, a Monteux disciple.
After graduation from The University of Pennsylvania School of Medicine, Jerome D. Goodman, M. D. began a private practice in Adult, Adolescent, and Child Psychiatry, and taught on the medical faculty of Columbia University. He wrote a textbook in Child Psychiatric Diagnosis, several chapters in textbooks, and a number of refereed journal articles. After a two-year tour of duty in the US Army, in 1967 he opened a private practice in Saddle River NJ. From 1970-1975 he was also Director of Child Psychiatry at an inpatient hospital unit in New Jersey where he pioneered an innovative treatment for autistic children, based on behavioral modification.
In 1975 Goodman once again turned attention to music, this time in the form of musical composition. As a teenager, he had familiarized himself with a number of orchestral scores, while listening to music in the library or in the concert hall. In college he had studied composition with Alfred Swan. Swan, a biographer of the Russian composer Alexander Scriabin, was astonished when Goodman, in fulfillment of an assignment, had transformed a Chopin Prelude into music with certain sound patterns reminiscent of the Russian composer. It was especially interesting since Goodman did not know of Scriabin’s works.
Later, in the 1980’s, Goodman consulted another Scriabin biographer Faubian Bowers from whom he received truly critical yet helpful evaluations of some early piano compositions, and also a violin-piano sonata. By then Goodman was beginning to find his own unique voice. A treasured letter from the pianist-conductor Vladimir Ashkenazy stated “I think that the sonata is written with a lot of imagination and skill. I don’t think your world of composition is similar to Scriabin. I think you have your own language.”
Among the highlights of his career in musical composition were the premier of the Piano Sonata at Carnegie Hall, and the performance of other works by major orchestras and skilled soloists. Goodman’s first symphony, entitled, Six Cryptic Rhythms, received an enthusiastic reception when played by Orchestra 2001 in Philadelphia in 1992. The major reviewer of The Philadelphia Inquirer Peter Dobrin wrote: “New classical music is alive and well (citing) important new works such as the symphony of Goodman. What a shame it would be if such works were not performed again, especially since this symphony deserves performances beyond its premiere.” Dobrin continued in the review that, “Goodman’s work is in no way derivative, it is expressed in an entirely original voice and is invariably exciting and eventful music.”
Recordings with MMC of Goodman’s music include a Violin Concerto, premiered in Prague in 1995. The reviewer in Classics Today Victor Carr wrote that listeners who were familiar with Alban Berg would “feel at home” in Goodman’s Violin Concerto. The reviewer Raymond Tuttle, writing in Fanfare magazine about an orchestral tone poem by Goodman, found the music “flowing along rhapsodically with snatches of melody here and there, but the most durable sensation is one of shifting color.” In another of the tone poems, the reviewer described the work as “clearly that of the same composer – stylistic footprints became apparent…I’m glad I spent the time hearing Goodman’s music.” Included in that particular album was the Violin Sonata, which Tuttle reviewed as “sustaining my interest with its rigor and toughness.”
In 2004 a jointly sponsored concert in New York City at Merkin Hall featured Goodman’s Saxophone Quartet, which was applauded by a full-house audience that clearly appreciated the “modernity and originality of this composition.” Capitalizing on a relationship that he had formed with Cesar Vuksic, an Argentinian-American pianist, Goodman wrote The Essay for Flute and Piano (2007) and Piano Preludes (2006), both of which were premiered in Rosario, Argentina. It was in this concert in 2007 under the baton of Marisol Gentile that Six Cryptic Rhythms was finally performed again, 15 years after its premier.
Other recordings of Goodman’s music include the Violin Concerto, premiered at the Rudolfinum in Prague 1995; an album of selected music which included the Double Concerto for ‘Cello and Clarinet with the Seattle Symphony Orchestra, featuring as clarinetist the well-known Richard Stoltzman. A reviewer in New Music Connoisseur publication found it to be “an engaging work that merits additional hearings…artfully combining mildly dissonant tonalities and lush romantic orchestration in which each soloist is given long line melodies and interesting interactions...”
Goodman has proposed on occasion some audacious scenarios to expose his music to wider audiences. One of these schemes was his contact with David Dubal at Juilliard to offer a cash award to any one of Dubal’s Master Class pianists who would prepare an audition of his three new piano preludes. One of the graduate students was Ran Dank, a young prize-winning pianist. Dank astonished Goodman by sight-reading these difficult pieces. Not only did he play most of the notes, but he also played with the spirit and nuance intended in the music. Dank agreed to record the preludes (found on the CD). He also chose to perform them as part of his graduation recital for his Master’s Degree from Julliard.
In more recent years, struggling against his anonymity among the establishment composers, Goodman has written for smaller musical ensembles of diverse nature: small chorus, songs for soprano and piano, and chamber music. This present album represents another opportunity for listeners of contemporary classical music to experience the wide-ranging oeuvre of this composer.
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Jerome David GodomanCollected Music of Jerome David Goodman
Available May 28th
KATHRYN GOODSON, pianist, curator and coach,
lives in Ann Arbor MI. In 2013-2014 she
was a recital partner at the Detroit Institute of
Arts, the Italian Embassy in Washington, DC,
Stanford University, the Grand Teton Music
Festival and the first-ever Alumni-Konzert at
the Karlsruhe Musikhochschule in Germany.
Her international exchanges began in Germany
as a Fulbright Scholar in the 1990s, when she
collaborated at concert venues across the
continent including L'Église Américaine (Paris),
Tonhalle (Zürich), Amerika-Haus (Berlin) and
Dunvegan Castle on the Isle of Skye, Scotland.
In addition, she was engaged by the Internationale-
Hugo-Wolf-Akademie, both to design
an American Music Festival in Stuttgart and
to perform Schumann for the Chamber Music
Society of Lincoln Center at Alice Tully Hall.
Recordings of her work include: Italian-Jewish
Art Songs with Caroline Helton for Equilibrium in 2013; American Music with Timothy McAllister
for Innova in 2004 and Russian Music with Randall Hawes for Albany in 2003.
A passionate master class teacher, in 2013-2014 Goodson presented Songs4Winds at Oberlin Conservatory and Northwestern, Central Michigan, and Indiana universities. She regularly teaches Amerikanisches Lied at the Musikhochschule Karlsruhe, and also once gave this class at Tokyo's Musashino School. For the Detroit Symphony Orchestra in 2013, Goodson spearheaded chamber concerts leading up to the Carnegie Hall performance of Four Symphonies of Charles Ives under Leonard Slatkin, for which she played orchestral keyboards. Locally, Goodson champions the benefit series, Concerts4aCause, and the Ann Arbor Symphony Orchestra KinderConcerts. She is a pianist and coach at the University of Michigan, where she earned a DMA (Collaborative Piano, Martin Katz). Other degrees are from Oberlin Conservatory (B.M., Piano Performance; Robert Shannon) and the Karlsruhe Musikhochschule (Konzertexam with highest honors. Liedgestaltung; Hartmut Höll).
A man whose music has been described as “brainy and jazzy” (American Record Guide), “finely balanced, with impassioned solos and discursive ensembles” (Fanfare Magazine), and “fascinatingly strange” (BBC Music Magazine), award-winning composer Arthur Gottschalk (b. 1952) is Professor of Music Composition and Theory at Rice University’s Shepherd School of Music. With the number of compositions in his catalog now approaching 200, his music is regularly performed domestically and overseas, and his works are recorded and distributed on New Ariel, Crystal Records, Summit, Capstone, Beauport Classical, ERMMedia, Golden Crest, MSR Classics, Ablaze Records, Naxos, Edipan (Italy), Delage (France), and AURecordings. His works are published by Subito Music, Shawnee Press, European American Music Distributors, Alea Publishing, Trevco Music, Potenza Music, Delage Musique, and The Spectrum Press. His book, Functional Hearing, is published by Scarecrow Press, a division of Rowm,an and Littlefield. Gottschalk has worked in diverse areas of music, including composing and arranging music for feature films, television scores, numerous industrial films and commercials, music publishing, and artist management. He continues to work as an expert in music copyright cases and as a forensic musicologist. His Concerto for Violin and Symphonic Winds won the First Prize of the VVX Concorso Internazionale di Composizione Originale (Corciano, Italy), and he has been awarded the prestigious Bogliasco Fellowship for additional work in Italy. Further awards include the Charles Ives Prize of the American Academy of Arts and Letters, composer residencies at the famed Columbia-Princeton Electronic Music Center and at the Piccolo Spoleto Festival, and annual awards from the American Society of Composers, Authors, and Publishers since 1980. A student of renowned American composers William Bolcom, Ross Lee Fi nney, and Leslie Bassett, Gottschalk carries on this important lineage by producing students who compose original and innovative music in various forums throughout the world.arthurgottschalk.com
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Ulf Grahn (b. 1942) studied composition with Hans Eklund, Violin and Viola with Rudolf Forsberg and Piano with Herbert Westrell. He holds degrees from Stockholms Musikpedagogiska Institut and the Catholic University of America. He has also studied Business Administration, Economics and Development Studies at The Universities of Lund andUppsala, Sweden. In 1973 he founded the Contemporary Music Forum, in Washington, D.C. and served as its Program Director until 1984. During 1988-90 he was Artistic and Managing Director of the Music at Lake Siljan Festival, Sweden. Prior to this he was on the faculty of George Washington University and Director of its Electronic Music Studio other teaching positions include Catholic University of America and Northern Virginia Community College.
His commissions include Library of Congress's Mac Kim Fund, Stockholm Philharmonic, Stockholm School Board, Nationwide Concerts Sweden, Swedish Broadcasting Corporation, George Washington University, Contemporary Music Forum, Levin School of Music, Musik i Södermanland and numerous individuals. He has received grants from Swedish government, Nationwide Concerts, Royal Academy of Music Sweden, STIM, FST,, Prizes,Awards and Residences include ASCAP standard awards, Composers' Forum New York, Charles Ives Center for American Music, Individual Artists Award from State of Maryland, Composers' Conference Johnson Vermont, Stockholm Organ Days,Chicago Musical College , University of North Dakota, Swedish Institute in Athens Greece, Jeuness Musical, and James Madison University, Wolf Trap Farm Park for the Performing Arts, First prize in Stockholm International Organ Days, Musik i Dalarnas Carillon contest and second in Kil International Piano contest.
Peter Greve was born in 1931 in The Hague, Netherlands. He received musical training in The Hague from Jean Antonietti and Léon Orthel (piano), Theo Laanen (trumpet), Dr. Marcus van Crevel (theory), and later from Willem Frederik Bon (Amsterdam), Myers Foggin (UK) and Terence Lovett (UK) in orchestral conducting. While with these private teachers, he studied at the State University of Leiden in theNetherlands, where he obtained a Master of Science (1957) and Ph.D. (1959) degrees in chemistry.
After his studies, he worked as a scientific researcher for Philips-Duphar Pharmaceutial Industry and for the Dutch Ministry of Public Health and Environmental Hygiene, but remained active in music on a part-time basis. From 1981 to 2002, he worked as a consultant for various national and international organizations in East Asia, Eastern Europe, Central America, and some Arab countries.
Since his retirement in 2002, he is fulfilling a wish he felt since his early youth working as a full-time musician, composer, arranger, conductor, and pianist. He is a member of the Society of Dutch Composers (Nieuw-GeNeCo) and of BUMA/Stemra (Dutch organization in charge of the collection of music copyrights).
Greve lives in Graveland, a village approximately 20 km southeast of Amsterdam, Netherlands. He publishes and sells the scores and parts of his works through the foundation "Peter Greve, componist & arrangeur" contact: email@example.com
Rachel Lee Guthrie was born on November 3, 1979 in Des Moines IA. From an early age, she played the piano by ear and resisted formal lessons until the age of fourteen when she began studying with various college-level instructors. In 2004, Guthrie earned a degree in piano pedagogy from Drake University, graduating cum laude. Her passion has always been for Baroque, Classical, Romantic, and Impressionist masters, and she has composed a number of new pieces in the classical tradition as well as works in a contemporary style.close