Georges Raillard was born in Basel, Switzerland, in 1957. There he completed primary and secondary studies, as well as studies in foreign languages at university. From 1983 to 2001 he lived in Madrid, Spain, as a language teacher, translator, and writer. Since 2001 he has lived as a writer, composer for guitar, translator, and archivist mainly in Basel, though still spending longer periods of time in Spain looking for inspiration.
From 1973 to 1978 he took private classes on classical guitar and composition with Elfin F. Vogel, who now lives and works in New York City. Since 1974 he has composed more than 50 pieces for guitar. He publishes them on his website www.georges-raillard.com. His composition „Disintegration” (German title: „Zerfall”) won the second prize of the composition competition at the Festival Claxica 2010 in Castel d'Aiano, Italy, the first prize not being assigned.
In German he has published short stories, articles, and reviews in magazines and anthologies in German-speaking countries, as well as five books with short stories: Hirnströme eines Stubenhockers [Brain Currents of a Homebody] (1994), Das Wort und der Schrei [A Word and a Shout] (1997), Herr Monza oder Herr Monza [Mr. Monza or Mr. Monza] (2002), Der Lauf des Amazonas [The Course of the Amazon] (2009), Aus dem Hintergrund Chorgesang [Choral Singing from the Background] (2013).
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Composer Yves Ramette (b. 1921) was born in Bavay, France, where his father was the director of a school. From a very young age Ramette was instinctively attracted towards music. When he was seven years old he started learning musical notation as well as to play the violin and the piano. At age fourteen, while pursuing his secondary studies at the Beauvais Lycée, he also began taking advanced lessons in harmony.
After finishing his studies in humanities, he entered the Conservatoire National de Musique de Paris to obtain training in harmony from Jacques de la Presle, and in contrapuntal and fugue from Simonne Plé-Caussade. He also took lessons in composition from Arthur Honegger at the École Normale de Musique de Paris and was awarded first prize in 1945 with one of his early works.
Ramette studied the violin with Robert Duforestel, the piano with Lelia Gousseau and Lazarre Lévy, and the organ with George Jacob. Under the able guidance of Eugéne Bigot, he took lessons in conducting and orchestration. From 1947 to 1953 he was the director of courses as well as organ and notation classes at the Schola Cantorum in Paris.
Named the 'Maitre de Chapelle' and organ player at the Saint Ferdinand de Ternes church in Paris, he resigned in 1990 following a disagreement with religious authorities on the discontinuation of the devotional music. He founded the mixed choir 'Voix Ardens' to promote the devotional and secular choral music of the traditional romantic and modern maestros and gave many concerts as the head of this choir from 1968-1987.
Ramette became acquainted with the American pianist Eric Himy at a concert in the mid 1990s. This meeting resulted in a friendly and productive collaboration. Himy performed and recorded number of his works, lending his prodigious technique and sensibility to Ramette's difficult compositions.
Ramette's later years were spent devoting himself to composing music and he continued to practice the organ as well as his favorite instrument, the piano. An avid reader, his preferences ranged from Greek and Latin classics to Middle Age authors, the great Classicists and Romanticists as well as historians. He is the author of a book entitled Grandeur et Decadence diune tribune (Grandeur and Decadence of a Tribune).
Ramette passed away in June 2012 and is survived by his wife, Maryse Ramette. Navona Records is proud to honor this exceptional composer's legacy with this release.
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American composer, conductor, orchestrator, and producer Dan Redfeld has had his music and arrangements performed internationally from the concert hall to the musical theatre stage to the recording studio. Redfeld received his training at Boston's New England Conservatory before transferring to the University of California, Los Angeles (UCLA) where he graduated with a degree in composition with an emphasis in conducting. Instructors include composers William Thomas McKinley, Irwin Kostal, and David Raksin, and conductors Jon Robertson, Sir Simon Rattle, Zubin Mehta, and Roger Norrington.
In May 2015, Redfeld's Arioso for Oboe, Percussion and Strings premiered with the Santa Barbara Symphony under the direction of Maestro Nir Kabaretti and oboe soloist Lara Wickes.
January 15, 1947 - An Impromptu for Solo Harp, Redfeld's latest opus, was commissioned and premiered by harpist Alison Bjorkedal. The piece took Third Place in the American Harp Society Los Angeles Chapter Composition Competition and was recorded in 2014 for a release in 2016. His Fantasy for Violin & Piano was written for and premiered by violinist Elizabeth Hedman and pianist Robert Thies in 2009. They have recorded the piece for release in 2016 as part of an album of Redfeld's chamber works.
Redfeld's Travels for Piano Quartet was premiered in June of 2011 by Central4. In 2013, he and Central were featured at the Festival Internacional Bravissimo in Guatemala City. Travels received its international premiere to great acclaim along with Les Misérables Fantasy, a new 12-minute suite arranged for piano sextet by Redfeld based on material from the hit musical. Additional concert works include A Heart's Journey for Piano & Orchestra, Fanfare & Theme for Orchestra, Dance Sketches, Vineyards for Octet, Serenade for Piano Trio and the celebratory string quartet, Jubilation Fanfare.
In 2001, Little Women - An American Musical, with music by Redfeld, lyrics by Christina Harding and John Koladziej, and book by Steven Ganci and Ralph Lucas, was workshopped both in Los Angeles and New York with Elaine Stritch and Deborah Gibson.
Among Redfeld's twenty-five film scores are the AFI-produced Clinic E and film noir Moustache, which garnered him several awards. He has also composed music for more than twenty silent classic films and in 2013, participated in a fi ve-city West Coast tour for the Library of Congress premiering his work for the restored Mary Pickford classics, Sparrows and Dorothy Vernon of Haddon Hall.
Redfeld's studio work as an arranger and producer includes I Once Was Told, the debut album of singer James Below, the critically-acclaimed compilation Music from the Twilight Saga, Schindler's List: The Film Music of John Williams, as well as recordings of piano solo themes and songs from a wide array of fi lm and television composers, most notably John Williams, John Barry, James Horner and Jerry Goldsmith. He produced and conducted Titanic: An Epic Musical Voyage, an album commemorating the 100th anniversary of the Titanic disaster and the re-release of James Cameron's Academy Award-winning film. Across the Stars: The Film Music of John Williams for Solo Piano features Redfeld as soloist.
For the stage, Redfeld orchestrated Beaches - A New Musical, the national tour of A Christmas Story (adapted from Larry Blank's original orchestrations), the Broadway Medley for the Los Angeles Music Center's 50th Anniversary Gala in 2014, as well as live work with Shirley Jones and Patrick Cassidy, and shows in London's West End and the continental United States.
As music director, conductor and pianist, Redfeld has worked on forty-plus musicals including The Who's Tommy (with Alice Ripley), Chess - the London Version (with Susan Egan and Matt Morrison, My Fair Lady (with Jonathan Pryce and Laura Michelle Kelly), Evita, Jesus Christ Superstar, Into the Woods, Sweeney Todd, Miss Saigon, Triumph of Love, The Spitfire Grill, West Side Story and The Secret Garden.
Redfeld has been the conductor of Los Angeles Opera's Secondary In-School-Opera since 2003 and made his debut with Montana Lyric Opera in 2010. More information on Redfeld can be found on Facebook, Twitter and Instagram, and at www.danredfeld.com His discography is available at Amazon, iTunes, CD Baby, Spotify, and other retail outlets.
Composer Sally Reid was born in East Liverpool, Ohio, in 1948. She holds the Ph.D. from the University of Texas at Austin and is Professor of Music and Director of the School of Music at Lipscomb University in Nashville, Tennessee. Reid was editor of the ILWC Journal (International League of Women Composers) from 1991-1995 and served as President of the International Alliance for Women in Music (IAWM) in 1999-2000. She is also a member of the Society of Composers, Inc., the Southern Composers League and the Nashville Composers Association.
Reid's compositions include works in both acoustic and electro-acoustic media and employ tonality in a way that is both fresh and approachable. Her compositions have been referred to as "stunning and whimsical" and "charmingly demented." Her most recent work has included orchestral realizations of original scores for historical documentaries and experimental films (Old Segundo Productions). Her score to Dry Gulcher Down received the George Bledsoe Award at an award presentation in Shalford England in 2008.
Dr. Reid has received annual ASCAP awards since 1987. Her Fiuggi Fanfare (for saxophone quintet) won First Prize during the Fifth International Festival of Women Composers at Indiana University of Pennsylvania and was released on the SCI compilation album Mosaic in 2010. Her compositions have been performed by North/South Consonance, Composers Concordance, Synchronia, New Music Now!, Opus 90, the Price Duo and Northern Accord. They have been broadcast in the U.S., Europe and Australia and are published by Hildegard Publishing, Southern Music and Elm Creek Music.
Thomas L. Read, composer and violinist, is Professor Emeritus at the University of Vermont. Born in Erie, Pennsylvania in 1938, he studied violin, composition and conducting at the Oberlin, Mozarteum, New England and Peabody Conservatories with such noted musicians as Andor Toth Sr., Richard Burgin, Bernhard Paumgartner, Leon Fleisher, and Benjamin Lees. As violinist he has been a member of the Erie Philharmonic, Baltimore Symphony, Boston Festival Arts (under Harold Farberman), Vermont Symphony and the Saratoga Festival of Baroque Music. He joined the faculty of the University of Vermont in 1967, becoming Professor Emeritus in 2008. During his more than 40 years on the faculty he taught countless students, conducted and coached many concerts and musical theater productions, and led an innovative series of new music concerts and lectures (Symposium on Contemporary Music, held annually from 1968 until 1991). He continues to be active as a violin soloist and conductor as well as a composer.
He has written music for a variety of media and almost entirely on commission- music for small ensembles, full orchestra, solo voice, chorus and musical theater. He has been a recipient of several Vermont Arts Council and University Stipends, and has been awarded fellowships from organizations such as the McDowell Colony, the Charles Ives Institute, and the Johnson Composers Conference. Recent premieres include Piano Partita (nominated for Pulitzer prize in 2007), Night Pageantries for bassoon and piano, and Going On for clarinet, violin and piano (2008 Burlington VT), The Dancing Air (2008, Pittsburgh PA), Three Keyboard Interludes (2008 Harvard University), Third String Quartet (2008, Kiev, Ukraine), Octet for Strings (2009, Ann Arbor MI), Winter Fields, Woods and Air for mixed choir (2010) and What Story Awaits Its End? (2010). C.F.Peters, Tunbridge Music, Yelton Rhodes, and the American Composers Edition publish his work. A complete repertoire and recording list is at ThomasLRead.com.
Marty Regan graduated from Oberlin College in 1995 with a B.M. in Composition and a B.A. in English and East Asian Studies. From 2000-2002 he studied composition and took applied lessons on traditional Japanese instruments as a Japanese government-sponsored research student at Tokyo College of Music. In 2002, his composition Shinonome no Uta (Song-Poem of the Eastern Clouds) was premiered at the 5th Annual Composition Competition for Traditional Japanese Instruments at the National Theatre of Japan. In 2005 he was awarded the Tai Hei Shakuhachi Scholarship in recognition of his efforts in advocating the Japanese performing arts abroad. He completed his Ph.D. in Music with an emphasis in Composition at the University of Hawaii at Manoa in 2006. His English translation of Minoru MikiÕs Composing for Japanese Instruments was published in 2008 by the University of Rochester Press. He is currently working as an Assistant Professor of Music at Texas A&M University.
For more information, visit www.martyregan.com
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Phillip Rhodes was born in Forest City, North Carolina in 1940 and received degrees from Duke University and the Yale University School of Music. His principal teachers have been William Klenz, Iain Hamilton, Donald Martino, and Mel Powell.
Rhodes has been the recipient of numerous commissions and composition awards, including grants from the National Endowment for the Arts, the National Endowment for the Humanities, the Rockefeller Fund for Music, a citation and award from the American Academy of Arts and Letters, a Guggenheim Fellowship, two Tanglewood Orchestra Prizes, two McKnight Foundation Fellowships, two Fromm Foundation Commissions (Harvard), and a Bush Foundation Fellowship for Artists. Rhodes' compositions are published by C. F. Peters, E.M.I., Theodore Presser, Earthsongs, and Schott.
His music is recorded on labels including CRI, Centaur Records, First Edition (Louisville), Innova, and New World Records. Major performances of his works include those by the Atlanta Symphony at Carnegie Hall, the Cleveland Orchestra at the Blossom Festival, the National Symphony at the Kennedy Center for the Performing Arts, and the St. Paul Chamber Orchestra.
He is Andrew W. Mellon Professor of the Humanities Emeritus at Carleton College and served as the Composer-in-Residence there from 1974 to 2007. Prior to coming to Carleton, he taught at Amherst College and served as Composer-in-Residence for the City of Louisville and for the State of Kentucky under the auspices of the Ford Foundation, the Courier-Journal and Louisville Times Foundation and the Kentucky State Arts Commission.
Howard L. Richards Jr. received his first piano lesson when he was six years old and began studying popular piano and trumpet at the age of eight. He attended high school at Culver Military Academy in Indiana and was a member of the Infantry Band for four years. Upon graduating high school, Richards spent one year at the University of Michigan to study Physics, but switched at midyear to major in Music Composition. While still in school he joined the army—as it appeared that he would soon be called anyway—allowing him to choose which branch of the service to enter. While enlisted, Richards learned the mathematics of topography and how to use what were the noisy keyboard calculators of the time. Though the Army had invited him to stay and teach topography, he instead went to Japan, and later the Philippines, to work on the “math of maps,” as he referred to it. During this time he enrolled in a course in music theory at Tokyo University where he studied Walter Piston’s Harmony and Joseph Schillinger’s Theory of Music. While still in Japan, he applied and enrolled in Rollins College, a Florida-based institution known for its strong music department.
During his time at Rollins, Richards studied a different instrument each semester and was also asked to write a musical. He graduated from Rollins with a Bachelor of Music in Composition as well as a Bachelor of Arts in Music. The young composer was then called back into the army, during which time he worked on maps inside the Pentagon and wrote another musical with the intention of staging it once out of the service. Though earlier musicals were written for two pianos, he wrote his next show for a pit orchestra; but the instruments were far from standard and were dependent on whichever instruments he was able to obtain. Around this time Richards befriended Mr. Alphonse Carlo of the Florida Symphony Orchestra, his newfound pit orchestra concertmaster. He studied violin, viola, and orchestration with Carlo, who loved Richards’ work and saw his orchestration abilities being put to good use. His composition instructor during this period was Jack Carter, a pupil of Roy Harris. With the exception of his first show, Richards wrote the book, lyrics, music, and orchestras for his own works along with conducting and playing the trumpet in his own musicals. Richards soon received a fellowship at Florida State University and studied with Ernst von Dohnanyi, graduation with a Master’s Degree in Music Composition.
After completing his studies, Richards taught Junior High School music and then moved on to New York City where he worked for the Columbia LP Record Club. A year later he accepted a position with RCA Red Seal Records, first as a music editor and then as a recording director for several albums. He would later quit RCA to work on a Japanese opera and orchestrated a number of radio commercials. He soon after received a job with IBM as a Program Developer. While at IBM, Richards programmed, on his own, a computer music editor and wrote a document explaining which musical functions would be needed for use in professional publishing. During this time, Richards and his lyricist received word that Nat King Cole was to record one of their works. Unfortunately, the popular vocalist died before the recording could take place. It was at this same time period Richards would have six choral works published.
After retiring from IBM, he taught a few students in music theory and converted his Japanese opera into an eleven-movement suite. In both his pre- and post-retirement days, Richards worked on many compositions and began transcribing his works onto the computer. Coinciding with his increased compositional output, his orchestral work A Frenchman in New York, Part I was performed at Rollins College with the Bach Festival Orchestra several years ago during a program of works featuring American composers.
In April 2001, Richards was blinded in a bad operation. Nevertheless, he dictated the music for a fanfare and patriotic song I Am Blessed to be an American, which was performed by the Bach Festival Orchestra and Chorus for a 4th of July concert in Winter Park FL.
Due to his blindness, Richards needed the help of music students to aide in his musical endeavors. His student aides provided assistance in transferring old composition scores into digital music score files, as well as dictation of Richards’ music for new works never before seen in notation.
Richards’s first CD, The Music of Howard Richards, was released in 2002. The disc contained works recorded over the four previous years with the Moravian Philharmonic Orchestra in the Czech Republic.
Richards received a myriad of glowing reviews following the release of his second album¸ The Melodic Howard Richards, in 2006. Around this time, Richards was also highlighted at Rollins College, where his life’s work over the past 50 years was set on display in his honor.
In 2008 Richards’ third CD, The Melodic and Dramatic Howard Richards, was released on Navona Records. This album featured his piece A Frenchman in New York and eight other works, performed and recorded by the Moravian Philharmonic Orchestra in the Czech Republic.
PARMA's very good friend Howard L. "Dick" Richards passed away on January 27, 2010. Dick was a highly talented musician and man who was equally facile as a composer of orchestral, vocal, and chamber music and as an engineer, a job he performed with RCA for its legendary "Living Stereo" line. Dick was finalizing the liner notes for his new release of choral music on PARMA imprint Navona Records; the music was recorded in the summer of 2010 and final touch-ups were done in December - he was pleased with every note of the music and was looking forward to recording his next project, "The Paris Suite." He will be greatly missed, and we are better for having his music in our lives.
CEO, PARMA Recordings
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John D. Rojak joined the American Brass Quintet in 1991. He is bass trombonist with the Orchestra of St. Luke's, IRIS, New York Pops, Little Orchestra Society, Stamford Symphony, and played for the 16-year run of Broadway's Les Misérables. He has performed and recorded with the New York Philharmonic, Orpheus, New York Chamber Symphony, and as solo trombone of Solisti NY. He has performed with the Cleveland Orchestra, the Los Angeles Philharmonic, the Boston Symphony, for Pope John Paul II in New York's Central Park and St. Patrick's Cathedral, and for Pope Francis in Madison Square Garden. As part of Gunther Schuller's handpicked orchestra he was involved in the recording of Brahms' First Symphony and Beethoven's Fifth for a collaborative album to Schuller's book The Compleat Conductor. Rojak has performed with many ballet companies, including the Bolshoi, Kirov, Royal, Netherlands Dance Theatre, China, and San Francisco. Other Broadway shows include The Producers, Sugar Babies, and Shirley MacLaine on Broadway, and he has played with the big bands of Mel Lewis, Gerry Mulligan, and Bob Mintzer. In addition to classical recordings, he can be heard on soundtracks for commercials and film, and played with Metallica, Peter Gabriel, and Styx.
Active as a soloist and clinician, Rojak was the first bass trombonist to be artist-in-residence at Quad City Arts in Illinois/Iowa and has been featured at the International Trombone Association Workshops in Champaign-Urbana, Boulder, and Salt Lake City, as well as performing Eric Ewazen's Concerto for Bass Trombone with the Daejon, Korea Philharmonic Orchestra. He has given master classes and recitals throughout the United States, Japan, Mexico, and Australia, has been visiting trombone instructor at the North Carolina School of the Arts, and adjudicator for competitions including Concert Artists Guild, Fischoff, and Coleman.
In the spring of 2000 Rojak made his New York concerto debut, performing Walter Ross' Trombone Concerto No. 2 in Alice Tully Hall with the New York Chamber Symphony, Gerard Schwarz conducting. The piece was recorded and is featured on ROJAK ROCKS on Navona Records. He has been featured with the trombone section of the Brass Band of Battle Creek, and played the solo trombone part with Vladimir Spivakov and the Moscow Virtuosi in the North American premiere of Schnittke's Five Fragments Based on Paintings of Hieronymus Bosch for Violin, Trombone, and Tenor in Avery Fisher Hall. His first solo recording, The Romantic Bass Trombone with pianist Robert Koenig, on MMC Records, was critically acclaimed in several trade journals. Other solo recordings are Rhapsody for Bass Trombone and Strings composed by Eric Ewazen with the Czech Philharmonic Chamber Orchestra on the Albany album, Bass Hits, and The Essential Rochut on Belle Records. He has collaborated on chamber music recordings with Andrew Violette, David Sampson, and Jeffrey Nichols.
Rojak received a Bachelor of Music degree from Juilliard and held fellowships at the Tanglewood and Waterloo Music Festivals. He is Director of Brass Studies at New York University, and on the faculties of Juilliard, Hartt, Colorado College Summer Music Festival, and the Aspen Music Festival and School.
KAROLINA ROJAHN is a Boston based pianist whose repertoire ranges from Bach to Rzewski. Solo performances have led her to such diverse places as France, Germany, Switzerland, Belgium, Slovakia, the Greek Islands, her native Poland, and across the United States.
An avid proponent of contemporary music, Ms. Rojahn has premiered over 100 new works by both established and up-and-coming composers. She has recorded 18 albums of contemporary solo and chamber music repertoire for MMC and Navona labels. These include a collection of chamber music by Carl Vollrath and a duet by Jason Barabba in collaboration with clarinetist Richard Stolzman as well as the music of Byron Petty, Bill Fletcher, Alan Beeler, Michael Evans, Rachel Lee Guthrie, Martin Schlumpf, Ron Nagrocka, David Stewart, Sergio Cervetti, Greg Bowers, and Alexandra Ottaway. Her most recent independent project includes a complete recording of the Preludes by Andy Vores.
An active chamber musician, Ms Rojahn has been a member of Boston's Ludovico Ensemble since it's founding in 2003 and has participated in the US premieres of contemporary avant garde masterpieces as well as world premieres of the newly commissioned pieces by living composers.
Rojahn started her musical education in Warsaw, Poland where she attended the prestigious Karol Szymanowski Music Conservatory under the guidance of Kazimierz Gierzod, a well-known Polish pianist and pedagogue. After moving to the United States she earned her Bachelor's and Master's degrees from The Boston Conservatory under the tutelage of Michael Lewin. Ms. Rojahn appeared at several prestigious festivals in Europe, including Ticino Musica, Alden-Biesen Festival, International Piano Festival in Obidos and the Samos Island Festival, where she had an opportunity to work with several European virtuosos, such as Paul Badura-Skoda, Milosz Magin, Herbert Seidel, and Regina Smendzianka.
Ms Rojahn has been a faculty member at the Boston Conservatory since 2007.
Called “a fresh, bold, and individual creative force” (Los Angeles’ Canyon News), and “a very talented young composer with much to look forward to in the future” (Paula Brusky, 2010 Bassoon Chamber Music Composition Competition), Kyle Peter Rotolo (b. 1986) is a multi-faceted musician who has worked in a variety of mediums including contemporary classical, film/television/radio, and pop/rock. He grew up on the New Jersey side of the Hudson River, just across from the City That Never Sleeps. 2012 saw the CD release of his piece for solo guitar “Le crâne a lá cigarette qui fume” on the album Epitaphios by the lauded guitarist Anastasios Comanescu, as well as the premiere of “Marilyn’s Room,” a mini-opera on his own story and libretto, by the Peabody opera company.
He is an almnus of the Peabody Institute of the Johns Hopkins University (M.M. 2013), the Brevard Music Center, and a member of Pi Kappa Lamba National Music Honor Society. His primary teachers have been Kevin Puts, Liviu Marinescu, and N. Lincoln Hanks. He has also studied with Robert Aldridge and David Dzubay. Kyle wishes to thank Peabody Institute and their director, Dr. Jeffrey Sharkey, for supporting this project with a Peabody Career Development Grant.
Christina Rusnak (b. 1959) is a multifaceted composer whose work reflects a diversity of styles. Actively seeking to integrate artistic and geographic elements into her work, her goal is to compose music that engages the performers as well as the audience.
She has been awarded the Paul Loomis and David M. Schimmel Memorial Composition scholarships and the Priddy Fellowship in Arts Leadership. ERM Media selected her piece Cloudburst for the Masterworks of the New Era series. Rusnak’s essay, published by WanderingScholars.org in 2009, explores cultural history in Brent Phelps’ "On the Trail" photographic series. Most recently she premiered 161 Glass, commissioned by the Dallas Contemporary for their new art space.
Rusnak began composing early, and after receiving a Bachelor of Business Administration in Management from UNT, she continued composing while managing increasing responsibilities at a major retailer. With a Master’s Degree in Composition and a minor in Art History from the University of North Texas, she has worked with the Dallas Contemporary coordinating their New Sounds sound art series, with Orchestra 2001 in a management consulting capacity, and most recently founded the Dallas Composers Workshop. She has studied composition with Cindy McTee, David Bithell and Christopher Morgan.close
Tadd Russo (b. 1976, Parma, Ohio) received his master's degree in composition from The Ohio State University, where his principal instructor was Thomas Wells. Critic Ralph O’Dette has praised his “lyrical gift,” hailing his music for the theatre as “memorable.” Tadd has studied film and Broadway orchestration with Steven Scott Smalley and Joe Gianono. His music has been performed at the Edinburgh Fringe Festival in Edinburgh, Scotland; the OCEAn festival in Oberlin, Ohio; the Electrolune Festival in Lunel, France; the Society of Composers National Convention in San Antonio, Texas; and by the Dallas Wind Symphony. As an arranger/orchestrator, he has worked with Ben Vereen, Ronan Tynan, Darin Atwater’s Soulful Symphony, Empire Brass, and Kool and the Gang, among others. Tadd currently serves as a composer/arranger for The United States Air Force Band in Washington, DC and teaches music technology at Morgan State University in Baltimore, Maryland.
For more information, please visit www.taddrusso.com
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Alejandro Rutty's compositional output includes orchestral, chamber, and mixed-media music, arrangements of Argentine traditional music, and innovative outreach musical projects.
A unique feature of Rutty's music is its affection for textures suggested by modern recording processing techniques, and the use of Tango--a genre he performs as a pianist--and other South American genres as part of the music's surface.
For more information, please visit Alejandro's website.