Toccata Miami

And Other Works

Ferdinando DeSena composer

Release Date: June 10, 2022
Catalog #: NV6433
Format: Digital & Physical
21st Century
Solo Instrumental

Composer Ferdinando DeSena is no stranger to variation; from his previous electro-acoustic concoctions to this dynamic blend of chamber orchestrations in TOCCATA MIAMI, a world of enticing conversation between tonal opposites begs to be uncovered in these expressive compositions. Oboe and piano dance in an ominous sonata soundscape, harps and flutes seek to sooth in Three Attitudes, and solo piano works shine with a latin flair in the album’s titular track.


Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 Toccata Miami Ferdinando DeSena Ana Rodriguez, piano 5:49
02 Three Attitudes: I. Reverie Ferdinando DeSena Jessica Lizak, flute; Franziska Huhn, harp 2:53
03 Three Attitudes: II. Anxiety Ferdinando DeSena Jessica Lizak, flute; Franziska Huhn, harp 2:33
04 Three Attitudes: III. Compassion Ferdinando DeSena Jessica Lizak, flute; Franziska Huhn, harp 3:48
05 Adagio for Friends Ferdinando DeSena Liubov Ohrimenco, violin; John Brook, piano 7:46
06 Prelude and Dance: I. Prelude Ferdinando DeSena David William Ross, guitar 2:29
07 Prelude and Dance: II. Dance Ferdinando DeSena David William Ross, guitar 3:07
08 You Might Even See Me Ferdinando DeSena Sarah Brady, flute; Yoko Hagino, piano 6:29
09 Sonata for Oboe and Piano: I. petulance Ferdinando DeSena Elizabeth England, oboe; Yoko Hagino, piano 6:19
10 Sonata for Oboe and Piano: II. langour and ardour Ferdinando DeSena Elizabeth England, oboe; Yoko Hagino, piano 7:38
11 no tears, and no remorse Ferdinando DeSena SRU Flute Ensemble | Cassandra Eisenreich, director and conductor; Grace Smith, Sydney Eastman, Samantha Kochis, Nicole Laborie, Rachael Kovaly, Frances Orteza, Kalista Heidkamp - flute; Jordan Lilly, piccolo; Nikki Kammer, bass flute; Kellie DeLorenzo, alto flute 6:11

Adagio for Friends, Toccata Miami
Recorded October 2-3, 2021 at Futura Productions, Roslindale MA
Session Producers Lucas Paquette, John Weston
Session Engineer John Weston

Three Attitudes, Prelude and Dance, You Might Even See Me, Sonata for Oboe and Piano
Recorded October 28-29, 2019 at Futura Productions, Roslindale MA
Session Producer John Page
Session Engineer John Weston
Assistant Engineer Jacob Steingart

Editing & Mixing (tracks 1-8) Lucas Paquette

No Tears and No Remorse
Recorded May 13, 2019 at Audible Images, Pittsburgh PA
Session Producer John Page
Session Engineer Jay Dudt
Recording Sessions Assistant Emma Terrell
Editing & Mixing Shaun Michaud

Cover art Abstract #1 by Johan Gilbert

Executive Producer Bob Lord

Executive A&R Sam Renshaw
A&R Director Brandon MacNeil

VP of Production Jan Košulič
Production Director Levi Brown
Audio Director Lucas Paquette
Production Assistant Martina Watzková
Mastering Melanie Montgomery

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Patrick Niland, Aidan Curran
Content Manager Sara Warner

Artist Information

Ferdinando DeSena


Ferdinando DeSena is a Miami composer born in Brooklyn NY. DeSena taught composition and electronic music at the New World School of the Arts from 2008 – 2020. He served on the faculty of the University of Miami from 1992 – 2009 and was Director of the Electronic Music Studio. His music has been performed throughout the continental United States and in Puerto Rico, Hawaii, Argentina, Italy, Ireland, and Scotland. De Sena earned a B.A in Computer Music at Ithaca College, a Masters in Electronic Music, and a D.M.A. in Composition at the University of Miami. His principal teachers were Dennis Kam, Peter Rothbart, and Don Wilson. Ferdinando DeSena is a PARMA recording artist with several releases currently available.

David William Ross

David William Ross


David William Ross is a New England–based guitarist with roots in both classical and jazz. His recordings and performances have been lauded for their sensitivity, virtuosity, and depth of all-around musicality. Ross frequently works with composers and is active in cultivating new repertoire for the guitar. He has premiered works by Frank Wallace, Georges Raillard, Ferdinando DeSena, Peter Dayton, Pierre Schroeder, among many others. Ross’ work as a session player has led to an extensive working knowledge of the recording studio. He has developed an approach to engineering and recording that not only serves as a means to capture and present music but also as an artistic tool in its own right.

Yoko Hagino

Yoko Hagino


Yoko Hagino was born and raised in Japan, where she began her piano studies at the age of 4. As a child, she performed her own compositions, which took her to Europe and the United States, including performances as a concert soloist with the Czech Symphony, the University of Southern California Symphony, Kyoto City Symphony, and Ensemble Orchestra Kanazawa. Hagino has appeared as a soloist with Osaka Century Orchestra, UMass Boston Chamber Orchestra, Key West Symphony Orchestra, White Rabbit Sinfonietta, and has also performed various piano recitals ranging from the music of Bach to contemporary repertoire. Hagino is a prize winner of the Steinway Society Piano Competition, the First International Chamber Music Competition, the All-Japan Selective Competition of the International Mozart Competition, and Chamber Music Competition of Japan.


It is my belief that art is that which enables the human spirit. I know that there are good aesthetic arguments that can be made against this position; this is not an aesthetic judgment, but a moral one. My great teacher Dennis Kam believed that the composer is responsible for how the listener reacts to the music. This was a singularly moral judgment made by someone whose career began when ultra-modernism was in vogue. Kam was a prize-winning wunderkind in modernist composition, but he later came to believe that if music sounds ugly and aggressive to the listener, it is the composer’s fault. I recommend the music of Kam as the most elegant I know, as modern as anything, but beautiful.

— Ferdinando DeSena

Toccata Miami was commissioned by pianist Ana Rodriguez, who asked me to write a virtuosic piano piece with a latin flair. This was an interesting challenge for me as I usually don’t consider virtuosity per se. Rodriguez gives a bravura performance here.

— Ferdinando DeSena

Three Attitudes is a three movement work written for two friends: harpist Valerie Von Pechy Whitcup and flutist Lea Kibler, who have performed this work many times.

— Ferdinando DeSena

Adagio for Friends takes advantage of pianist John Brook’s and violinist Liubov Ohrimenco’s wonderful musical intelligence and expressiveness.

— Ferdinando DeSena

Prelude and Dance is a solo guitar work in two movements. Some themes in the prelude are derived from my double guitar concerto — A Vietnam War Suite — and is somewhat contemplative. The second movement is a dance and features a more rhythmic expression.

— Ferdinando DeSena

You Might Even See Me is a duet for flute and piano. The title is an inside joke implying that if your duet performs this work, I might just show up. As in most of my duets, there is equal attention given to each of the partners.

— Ferdinando DeSena

Sonata for Oboe and Piano originally began as a work for english horn and harp; a performance opportunity prompted a change of medium to oboe and piano. It is a two-movement work and expresses some of the impressions suggested in the movement titles. This work makes good use of the subtle and exotic timbre of the oboe.

— Ferdinando DeSena

No tears, and no remorse is a piece for flute ensemble, from bass flute to piccolo. Cassandra Eisenreich directs the Slippery Rock University Flute Ensemble. Their performance features tremendous ensemble work by the group and a particular unity of technique which could only be found in an ensemble of flutists who have the same mentor.

— Ferdinando DeSena