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Trilaterus

The Music: Tango Sonata (2004-5): Imagine, if you will, a violin and piano duo in the smoke filled lounge of a luxury hotel in Buenos Aires. They start off their evening playing a romantic tango for the lovers dancing in the room. Then, surprisingly, the violinist and pianist take a break from their jobs and, dance a sexy tango with each other. Finally, to show everyone how it is really done, the violin and piano dance with violinist and pianist, or vice versa. In any case, they all dance a tour-de-force before collapsing with exhaustion at the end. Ghaleb and the Donkey (2004): is a short, sprightly, and enjoyable piece radiates nothing but happiness from beginning to end. It was commissioned by the Kayali Family, and tells the true story of Ghaleb, who, as a child dancer on stage in the Ballet, "Union Jack," at the New York City Ballet, had his foot stepped on by a live donkey. Ron witnessed this event from his seat in the orchestra pit and immediately got the idea to set it to music. The piece was choreographed for two boys by Michelle Mola. Ghaleb premiered the role of himself, and Craig Wasserman played the Donkey. It was performed at a New York City Ballet company party. The names of the very short movements are as follows: 1. Ghaleb Dances Happily. 2. The Donkey Enters. 3. The Donkey Gets Excited. 4. In His Excitement the Donkey Steps On Ghaleb's Foot. 5. Ghaleb Nurses His Wounds But Recovers Quickly. 6. Ghaleb Tames The Donkey And They Happily Dance Together. Enjoy!! Sonata for Double Bass and Piano (2003): is dedicated to Frank Proto, one of the deans of bass playing composers. Several years ago, Frank asked Ron to write a short piece for an album of music to be presented to their teacher, the eminent David Walter, on the occasion of his 90th birthday. Ron obediently fashioned a short work for solo double bass, and hasn't stopped writing since, hence the dedication, in deep gratitude for that small act of motivation which proved to be a life-changing event. The Sonata, probably the only work on this recording that can not readily be danced to, (and only because of it's unusual instrumentation) is one of the most ambitious solo works ever written for the bass, and borrows much from it's multi-functions as a jazz, pop, and classical instrument. There is no instrument with greater versatility. The piece makes use of a wide array of styles ranging from the classical Sonata-Allegro form, to impressionism, to more modern styles such as minimalism and those of the postmodern populists and crossover artists who utilize rock, and even bluegrass influences. Using various out of the ordinary techniques such as 5/4 time, double stops, portamenti, melodies in the extreme high tessitura, and an overall feeling of improvisation, it should prove to be an enduring work for the advanced soloist at the college to professional level. Trilaterus (2006): refers to three movements by three players, and has, as it's raison d'être, the bringing together of the three solo instruments on this recording. It's three movements are of such vastly different characters they could almost be considered different pieces. The first movement's title is a very simple numerical puzzle relating to the numbers of beats and measures in the piece, multiplied by the number of eighth notes in a beat. The second movement shows reverence to the old torch songs of Tin Pan Alley, and how they have been interpreted by jazz musicians over the years. The third movement is somewhat schizophrenic, successfully switching back and forth between a neo-baroque dance, and a postmodern, downtown, improvised, art-music mood. But once again, most of these pieces are eminently danceable, or at least subconsciously emulate dance music, which is something that Ron Wasserman, try as he might, simply can't escape from. His many years in the ballet orchestra pit seem to have permanently tattooed his musical sensibilities. Trilaterus is warmly and affectionately dedicated to Maria Asteriadou and Kurt Nikkanen in gratitude to the wonderful artistry they contributed to this recording and the creation of the piece. The Artists: Ron Wasserman, Composer Since his first recording was produced in 2004, Ron has had several interesting opportunities come his way. In July 2005, he received his first orchestral commission from the New York City Ballet to compose a short introductory fanfare celebrating the 40 year residency of the Ballet at the Saratoga Performing Arts Center that summer. In January 2005, Ron arranged several Astor Piazzolla Tangos to accompany the new production of Peter Martins' reworked ballet, "Todo Buenos Aires." He also wrote pieces for violin and piano to accompany various New York City Ballet educational programs, one of which involved Christopher Wheeldon extemporaneously choreographing short dances for children called onstage from the audience. His orchestral work, "Lament and Restoration," a 9/11 memorial concerto for violinist, strings, and harpsichord was recorded in 2004 by the micro-label Red Bandanna Records, along with his "Suite of Historical Dances." "Lament and Restoration" was previously performed in Sant' Oreste, Italy, and Nyack, New York. In May of 2005, "Lament and Restoration" was made into a ballet entitled, "Red Bandanna," choreographed by Margo Sappington for a performance by Valentina Kozlova and her Dance Conservatory Performance Project at Symphony Space in New York City. He has also composed several highly regarded arrangements of traditional spirituals, jazz numbers and rags for the Westchester Philharmonic and the New York City Ballet Orchestra. As a veteran of the classical music business, Ron has long been concerned with the financial health of the American symphony orchestra, and has dedicated himself to several imaginative fundraising efforts. He is extremely happy that at almost half of the proceeds from his first recording have gone to support the non-profit classical performing arts industry. In recent months of this writing he has finished part one of "Unrealized Dreams?" a song cycle for baritone and piano, with excerpts from recent presidential inaugural addresses as it's text, and several of what will ultimately be twenty-four preludes and fugues for piano in all keys somewhat in the style of Bach. Most ambitiously, he is working on a full-length children's ballet for orchestra to his own libretto. Ron always welcomes comments on his music and he can be contacted at ronwass@yahoo.com. Ron Wasserman, Bassist Since 1988 Ron has held the position of principal bass for the New York City Ballet Orchestra. He has also served or substituted as principal bass of many other orchestras including the Long Island Philharmonic, The Brooklyn Philharmonic, The American Composer's Orchestra, The Westchester Philharmonic, and the Bard Festival Orchestra. For the past several years he has substituted from time to time with the New York Philharmonic. In 2000 he appeared onstage at the New York City Ballet as a soloist in the Diamond Project ballet, "Appalachia Waltz," becoming one of the very few bassists to recreate the music of Edgar Meyer. He has also performed onstage in the above mentioned "Todo Buenos Aires." Before his orchestra career became full time, Ron played for many years as a jazz, pop, and commercial musician in countless of New York's sundry recording studios, Broadway theaters, concert halls, and clubs. In his earlier, more jazz oriented days he had the great pleasure of appearing with Dizzy Gillespie, Lionel Hampton, Don Elliott and others. Ron attended Indiana University, studying bass with Stuart Sankey, and jazz performance with David Baker. He studied with the late, great David Walter at both the Manhattan School of Music and the Juilliard School, where he received the Master of Music degree in 1985. Maria Asteriadou, Pianist Maria Asteriadou, a native of Greece, has established herself as a well known piano soloist and chamber musician in the United St

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Newsies: 20th Anniversary

Extra! Extra! Disney celebrates the 20th anniversary of the classic family musical, NEWSIES presented for the first time with an astonishing state-of-the-art digital restoration! Starring Academy Award winners Christian Bale (Best Supporting Actor, 2010, THE FIGHTER) and Robert Duvall (Best Actor, 1983, TENDER MERCIES) and screen favorite Ann-Margaret, NEWSIES tells the tale of a courageous group of newsboys in a classic musical style. Enjoy incredible dance sequences brilliantly choreographed by Kenny Ortega (HIGH SCHOOL MUSICAL) and songs by Hollywood legend Alan Menken (BEAUTY AND THE BEAST). Experience this critically acclaimed film - bursting with unforgettable music - in a whole new way on Disney Blu-ray!

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Romeo and Juliet

Choreographed by Rudolf Nureyev, this stunning Paris Opera Ballet production was performed at the Opera Bastille. The exceptional cast was chosen by Nureyev himself, and stars Manuel Legris and Monique Loudieres. Charles Jade is Tybalt, and Lionel Delanoe is Mercutio. Vello Pahn conducts the Orchestre de L'Opera National de Paris.

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Test

Set in the free-spirited San Francisco of 1985, Chris Mason Johnson's Test lovingly portrays this exciting and harrowing era as young Frankie (dancer Scott Marlowe in a breakout acting debut) confronts the challenges of being an understudy in a modern dance company where he's taunted to "dance like a man!" Frankie embarks on a budding relationship with hunky Todd (Matthew Risch, HBO's "Looking"), a veteran dancer in the same company and the bad boy to Frankie's naiveté. As Frankie and Todd's friendship deepens, they navigate a world of risk - it's the early years of the epidemic - but also a world of hope, humor, visual beauty and musical relief. The captivating dance sequences were especially choreographed for the film by acclaimed U.S. choreographer Sidra Bell. The film's vibrant soundtrack includes work by '80s icons Jimmy Somerville (Bronski Beat), Klaus Nomi, Romeo Void, Laurie Anderson, Martha and the Muffins, Cocteau Twins and Sylvester.

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I Read the Old Dream Slowly

Collusion Music Australia Music by Australian composers Green, Hawkins, Davidson, Ball, Brophy, Sabin and Twist. Collusion, also known as Collusion Music Australia continues in the development of creative and unique performance practise of chamber music in Australia since it's inception in 2002. For 10 years the ensemble has consistently performed 20th and 21st century art music with or without visual collaboration. Their resident choreographer is Gareth Belling, whom directed/choreographed Collusion's full length Ballet 'Transient Beauty' for the Restrung Festival in 2012. Susan Hawkins, resident composer for Collusion was the musical director and composer. Reviewer Mat Foley stated, 'In your face, it is. In your mind, it gets.' In Collusion's vast and impressive repertoire, music from Messiaen to Hindemith, Takemitsu to Australia's Andrew Schultz, Nigel Sabin, and Nigel Westlake engage large audiences. 2013 sees Collusion invited to perform at the World Clarinet Fest' in Assisi Italy, The Queensland Music Festival, The Australia Saxophone and Clarinet Convention Sydney, and will take up a position as an Ensemble in Residence at Griffith University's Queensland Conservatorium of Music in Collusion's home city Brisbane, Australia. The ensemble has also riveted audiences at the Judith Wright Centre for Contemporary Arts, The Brisbane Powerhouse, Chapel on Chapel Melbourne, Fireworks Art Gallery, The Queensland Art Gallery and at the University of Queensland and Southern Queensland, and the North Queensland Centre for Music. Venue themed performances, collaborations with performance and visual artists at nightclubs, showrooms, professional ballet studios, school classrooms, churches, online, on a river bank, as well as at Concert Halls, have visually and aurally inspired audiences (including up to 20,000 school children per year from 2008) to digest many different styles of art music composition. Of their 2007 CD release 'In Depth' (MOVE) Tony Way of The Green Guide commented, "Collusion demonstrates a great empathy with the living tradition of chamber music in this country, and their enterprise in making this disc is to be applauded." "The instrumental playing and recorded sound are excellent"- John Barns, 3MBS FM Libretto "The ensemble performance throughout is impeccable as is the sound quality"- Laura Mathison, 4MBS Program Guide. Collusion has performed at festivals such as Soul Food, Restrung, Crosssbows, Bangalow, Tyalgum, Evocations, International Messiaen Conference, and has toured for Musica Viva Countrywide and Education programs. Benjamin Greaves (violinist): is the director and a founding member of Collusion Music Australia. A freelance musician, his speciality and training is chamber music, however he is also a freelance orchestral musician. He has performed for the Camerata of St John's Chamber Orchestra as principal 2nd violin and guest leader, the Queensland Symphony Orchestra, the Queensland Ballet, X, Brisbane, Adelaide International Cabaret, and Queensland Festivals amongst others. He has broadcast solo for ABC Classic FM. He has collaborated with contemporary artists like Jazz Trio Elixir, Circa Australia, Human Nature, and even played in professional music theatre productions such as South Pacific for Opera Australia. He studied with Carmel Kaine and Mary Nemet, and has performed in masterclasses for Lord Yehudi Menuhin, Maxim Vengerov, Oleh Krysa and the Takacs String Quartet. Benjamin's continual attention to professional development as both a performer and pedagog has been supported in the past by Arts Queensland attending masterclasses of Rodney Friend. Brieley Cutting (pianist): was accepted into the Queensland Conservatorium at age 13 and graduated at 18 with first class honours and a performance of Shostakovich's Piano Concerto No.1 with the Queensland Conservatorium Orchestra, winning all major performance awards. Following this, Brieley studied at the Australian National Academy of Music, the Queensland Conservatorium with Natasha Vlassenko, and at the Royal College of Music in London where she graduated with Distinction. Brieley has performed as soloist with the Melbourne, Adelaide, and Queensland Symphony Orchestras, and received 2nd prize in the Kerikeri International Piano Competition 2010, and was keyboard winner of the Symphony Australia Young Performer's Awards in 2006. Brieley has been recipient of prestigious awards from the Tait Memorial Trust, Australian Music Foundation, and the David Paul Landa Scholarship. Currently pianist with Collusion, she is also Artistic Director of the Commercial Road Chamber Music Series, Brisbane and a doctoral student at Griffith University. Danielle Bentley (cellist): is a founding member of Collusion. As a freelance musician, she has performed in countless concerts and recording sessions around Australia with acclaimed classical, jazz and popular music ensembles and artists. These include: the Paris Opera Ballet, Opera Queensland, Opera Australia, Australian Ballet, Queensland Symphony Orchestra, Camerata of St John's, Olivia Newton-John, Pete Murray, Harry Connick Jnr, Kanye West, Missy Higgins, Xavier Rudd, Kate Miller-Heidke, Pavarotti, Nigel Kennedy, Jon English, Il Divo, Jerry Lewis, Sarah Blasko, Hugh Jackman, Amici Forever, Kate Ceberano, Marcia Hines, Rolf Harris, Aled Jones, Tommy Lee - to name a few. Danielle is an academic, writer, poet and curator. She curates Restrung New Chamber Festival, which was the topic of her PhD exploring contemporary string practice and festival programming. Danielle is also the Festival Manager for Queensland Conservatorium's Crossbows small ensembles festival. Diana Tolmie (clarinettist): Woodwind specialist Diana Tolmie has had a wonderful time for the past 25 years with her career performing in a multitude of musical genres instigated by a Churchill Fellowship and a Queen Elizabeth Trust Award.&nbsp,Consistent session work has included the Queensland Symphony, Tasmanian Symphony, Malaysian Philharmonic and Orchestra Victoria. With over 30 professional musicals under her belt allowing her national and international travel, she is unafraid to cross genres being as comfortable in Clint Allen's Frank Zappa Big Band as she is with the Doch Gypsy Orchestra and is employed for many contemporary and mainstream live, television and recording events. As lecturer of the saxophone, clarinet and bass clarinet at the Queensland Conservatorium Griffith University she also convenes the professional industry preparation strand My Life As A Musician and is founder and conductor of the Queensland Conservatorium Saxophone Orchestra which tours internationally. Currently an Australian Music Examinations Board examiner, Diana has also acted as an AMEB consultant and editor with 3 publications in her bibliography in addition to editing the Australian Clarinet and Saxophone Magazine.&nbsp,.

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Dancerdemonloveranswer

My life has always been full of music. I don't even remember learning to play the piano. My mother tells me I started when I was two, crawling up on the bench trying to make music like my father did. He was always playing. One of my fondest childhood memories is of playing piano duets with him, or singing while he played. He was a composer as well, but came from a family where 'musician' was not an acceptable profession. I am currently working on transcribing and recording some of his music. (He died in 1981) I can still see him at the table during dinner, while we listened to some piano concerto, conducting the disembodied orchestra with his knife. I guess my influences come from everywhere. In the 60's I started out listening to the classics, which was from my father's influence, Rachmaninoff, Beethoven, Tchaikovsky, and of course, my beloved Chopin. Soon I discovered musicals, which I adored passionately. I cut my vocal teeth on (don't laugh, now) Mary Poppins. And when I was eight, I sang the music from The Sound of Music over and over, trying to get it right. I can't think of anyone better, technique-wise, to emulate than Julie Andrews. Then, when I was eleven my sister came home from college with a guitar. It was 1969, and she was playing Simon and Garfunkel, Bob Dylan, James Taylor, Peter Paul and Mary. I was hooked on folk music and guitar playing. In the 70's I got into heavier rock, listening to, and playing, music by Kansas, Queen, Styx, ELP, but I still listened to the acoustic artists like Cat Stevens, Livingston Taylor (James' lesser-known but just as wonderful brother) and CSNY. And, of course, more musical theater. I played the guitar and piano incessantly, all the junior high talent shows, coffee houses, local theaters, and then bars when I was old enough. By the time I was eighteen I was playing in my first band, complete with Les Paul and black bellbottoms. Over the years I've played in many bands, keyboards, guitar, always singing. I wore out my Queen albums practicing my singing. In the 80's there were lots of scantily clad guys with long hair prancing around playing music. Fun to look at, but largely a 'boy's only' club, unless you could play wailing guitar leads, which I couldn't. For an acoustic guitarist/pianist there wasn't much work, and I looked silly in spandex (still do), so that was when I decided to go to music college. It was an opportunity to devote my time to nothing but practicing and studying, something you never have time for in the 'real' world of a gigging musician. So I went to Combs College of Music in Philadelphia, and stayed until I had a Masters Degree in Piano Performance. After I left college I floundered. I had been plagued by tendonitis in graduate school, and after I graduated I quit the music business for awhile out of frustration and pain. During this time I wrote fiction and poetry, and studied writing. The creative drive was too strong for me to ignore, and I needed an outlet for it. I still write, and although my main focus is music, I have a few projects in the works that I hope to find time for some day. The two most useful things about that period in my 'life without music' was that: 1) I developed stronger writing skills, which have helped my lyric writing immensely. In fact, in 1997 I was invited to conduct a seminar on lyric writing at a writer's conference. 2) I realized that for me, a life without being actively involved in music seemed like just passing the time until I died. I resolved that no matter how much trouble I had with tendonitis or carpal tunnel syndrome (I have that too), I had to get back into playing music. So in the late 80's I got back into performing solo and with bands, and was pretty successful. The band I was in went far enough to open up for Eddie Money and The Little River Band. But I was discontent. Top 40 music didn't seem the right place for me, and I missed the piano and musical theater. As the 90s dawned I took a long look at what I really wanted to do with my musical life. I had always wanted to write my own songs, but for a long time my attempts just didn't sound right to me. I guess I hadn't found my 'voice.' For some reason it finally seemed like the right time, and I started writing in earnest. This eventually resulted in the release of Labyrinth in 1995 and dancerdemonloveranswer, released August of 2001. The process of creating both these albums has been a great joy. There is nothing quite like watching your music come alive in the studio. But something was still missing, and so I branched out, trying to find it. The first place I went was back to the piano. The piano is really my home, and my first true love. So I started writing for the piano, and one of these new works appears on dancer. I also threw myself headlong back into theater. I've worked in professional theater since I was thirteen, sometimes acting, mostly providing music. I've accompanied a great number of musicals, and also composed for theater, but got out of that world as I was focusing on writing original music. My most recent compositions, once I'd decided to go that route again, was for Everybody's Ulysses for the Fulton Opera House in Lancaster, PA, for which I wrote original songs and incidental music. I've also done some work scoring for film, most recently for the independent film Christmas Dinner, for Haverstick Films. Also, perhaps prompted by the theme of dancer, I began studying dance again, something I haven't done since I was ten, and I've begun to write instrumental music with the intention of having it choreographed. I finally feel like I have found the balance between pop, rock, classical, musical theater, dance and teaching that I searched for, for so many years. It's really just about devoting your life to the arts, and this varied and sometimes crazy lifestyle offers me the opportunity to really stretch out. Currently I'm teaching music classes at Harrisburg Area Community College, teaching private lessons, and performing at least two or three times a week, both piano and guitar, and continuing theater and dance work when I have the chance. I currently live in Harrisburg, PA with my amazingly tolerant and wonderful husband Eric, three cats and a dog.

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Tap, Vol. 5: Pre-Tap Animal Dances & Warm-Ups

Deanna Low Deanna Low began her professional dancing career at age 8 on Norfolk, Va's WTAR, appearing in a weekly TV show for 2 years. At age 16 she was touring with the 3rd Army's Holiday Show appearing all across the East and South. Deanna attended East Carolina University majoring in drama and psychology. At age 19 Deanna danced with the Radio City Music Hall's Rockettes in New York City. She appeared in the Outdoor Drama Horn in The West in Boone, North Carolina and in summer stock in North Carolina. She has choreographed for touring companies and for the Smithsonian Museum's Theatre on the Mall. She has danced in nightclubs and dinner theaters throughout the country. She studied with world famous teachers Matt Maddox, Gus Giordano, Phil Black, Margaret Craske, and Luigi. She started teaching when she was 20 opening her own studio in NC. Later, after college and a professional career she returned to her own studio business in Virginia. This studio grew by leaps and bounds and expanded to 3 locations. These studios were full to overflowing for years. During these years Deanna also taught in Day Care Schools and private Schools to augment her studio income and to get new students introduced to dance. She created Danc'Em an age appropriate dance program which she used personally in her schools in Colorado and now sells to other dance schools and around the country. From 1999 to 2001 she created the five ballet syllabuses with music by June Olson. These syllabuses have 36 lesson plans for September through May for Beginners through Advanced ballet technique. Since beginning Danc'Em Deanna has tried to create music and syllabuses to help teachers improve their classroom teaching and give them more variety in the classroom. Now we are offering three 9 month Tap Programs, A 9 month Toddler Program, a 9 month Creative Movement Program, a 9 Month Beginner Jazz program called Barbie Jazz and a 9 month Theatre for Tots program with a Pre- Ballet 9 month program coming in the summer of 2009. Deanna teaches in the Danc'Em Teacher's Workshop every summer for two days of intense study Stephen Brannen Stephen Brannen's musical background is diverse - covering many styles such as country, folk, bluegrass, jazz, rock, blues, gospel, Broadway, and classical. He has studied music theory and composition, and has a bachelor's degree in Recording Industry Production and Technology from Middle Tennessee State University. Although Stephen has played many instruments since first learning the piano at the age of eight, his favorite instruments are those with strings. He is an extremely gifted and versatile guitarist who is always in demand. More than a guitarist, he is a talented composer and producer. Stephen recorded his first album entitled 'Songs of the South' in the Spring of 2000. This album is an instrumental album featuring acoustic guitar, hammered dulcimer, mandolin and banjo As a parent of two young daughters, and the husband of a dance teacher, Stephen is very familiar with children's music. He now enjoys applying his musical talents to the creation of music for young dancers. Stephen lives in Colorado Springs, CO with his family, where he is guitarist for the United States Air Force Band. In his spare time, Stephen enjoys spending time with his family, riding bicycles and leading worship at church.

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Secret's Lament

Choreographed by Copious Dance Theatre's Artistic Director Kat Worthington, Secret's Lament premiered in May 2011 and featured live music written specifically for the piece and performed by pianist/soprano Katy Stephan. Secret's Lament observes dysfunctional relationships and unveils the dichotomy of human interactions through the story of love miscommunicated and misunderstood. Inspired by classical works, the music explores a dramatic range of moods.

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Streams

The CD 'Streams' presents my latest piano music (played by Swiss pianist Patricia Siffert) and a piece for string orchestra & harp (performed by Sinfonica Aosta, Italy). I am a British composer writing in the classical style. My initial source of inspiration is from within, a place where I feel the life-force, which can be experienced as streams of light and sound, can be accessed. Hence the CD title 'Streams'. If the music inspires or uplifts the listener, and can enable them to discover that place or source within themselves, then I am delighted and feel the music has been successful. One of the loveliest things that I hear quite regularly from people who have heard my music is that they went on a journey through the music. People experience being transported out of the concert hall, often getting visual experiences. I am interested in dreams, in soul and it's nature, and it may be that the music helps people to access that different state where they are able to experience freedom and gain insights away from physical constraints. 'I just wanted to email and say how much I've been enjoying your CD, 'Streams'. As ever with your music, there is something very cleansing about it and to listen to it is to go on a spiritual journey. It never fails to carry me to another world. Many thanks for all the pleasure it gives me.' Jane Pearson (journalist and writer) 'Your pieces brought to mind journeys, traveling, experiencing, in relationships, to places, along rivers, life events. Also the many layers of experience (always changing, moving, interacting, giving and receiving) of mind, body, emotions, heart and soul.' Dr K.P. Leicester, England. The title of 'Passage' (one of the piano solos), is almost a play on words, exploring the ideas of transformation, journey, the passage of time or a tunnel or channel as well as simply a piece of music. Similarly, 'Streams' (4 movements), stems from the inspiration of currents of water, from a small source to a powerful waterfall, a steady flow of energy and streams of light and consciousness. This, too, can be described as a journey, 'within the Eternal', reflected by melody, set against mantras of one note or group of notes, or the hum of the harmonic. The CD also includes two other piano solos, 'Always' and 'Apres', and 'Light Falling' for string orchestra and harp played by the Italian orchestra Sinfonica Aosta. Here are some more reviews of my music: "Rosemary Duxbury has the gift of melody" Brian Lee, Caduceus magazine 'Rosemary's music has that combination of artistic integrity and accessibility to a wide audience that eludes most contemporary composers' Stephen Gamble, classical music critic, Leicester Mercury. 'One admires Rosemary's integrity and the sustained quality of her work which combines subtle techniques and developing her special brand of minimalism within a profound spiritual context. The effect of her music is both powerful and accessible, attracting interest from the music lover to the musically trained listener, performer or composer.' Anthony Pither, Director of Music, University of Leicester 'Your new album is stunning' G.C., Kent, England 'Thanks so much for your lovely CD.It is magnificent! I was particularly impressed with the first track with the strings. Beautiful!' A.S., Tennessee, USA 'I just wanted to write and tell you how beautiful and exquisite your music is - it's really moving.' A.H., Nuremberg, Germany This music has been performed around Europe, in America and Canada, and has been broadcast on American, British and Canadian radio. As well as being performed in the concert repertoire, my compositions have been used in multi-media performances, choreographed for dance, for ice skating, used in theatre, and for short film.

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Music with Passion

Short Biography: Desmond Ivey I am a native of beautiful Caribbean Island Jamaica W.I. I am self taught to play the Guitar, after experimenting and made my first Guitar, because I couldn't afford to purchase one from a music store. The Guitar body was made from plywood, the guitar neck from cedar wood. The keys were also made from cedar wood (pegs) The guitar would not stay tuned because the pegs kept unwinding, therefore, I had to keep a bottle of water to keep the keys wet. When cedar wood is wet it expands, and keep the pegs from unwinding. I use regular wire for strings therefore (you know) the sound was unpleasant but Hey, that's my Guitar. While banging on it, I learn to play Rhythms and keep good timing. I would take it with me every where I go, to make a long story short, after about a year or two I found A shop where I could buy the guitar keys, strings, and the Fret wire and guitar picks (I usually made my picks from plastic bottles, of different thickness) The frets were placed at equal distance and the Guitar action was very hard. (but it strengthen my fingers) After seeing a real guitar up close, I examine it carefully and build my first real Guitar. I suddenly became known, not only as a Guitar player, but a guitar builder as well. After drawing a diagram of the Guitar keyboard, and naming all the notes, a few years later when I bought my first Mel Bay Guitar Book, and saw the same diagram exactly like I drew it years earlier, I was in a state of shock, I felt like my head was expanding. I thought I had some Psychic ability, abviously I was just on the right track...long story. I study Music Rudiments and Theory and accomplished the Graded test examination, which was offered by The Royal School In England. I also accomplished the Jamaica School Certificate Examination (J.S.C.E.), which Include English Language, Mathematics, Health Science, General Science A., General Science B, Civics, History, Biology and Bible knowledge. I taught these academics subjects in the Public All age School For two years before I was accepted at the Jamaica School Of Music, where I study music and 'School Music Teaching'. Lastly, I taught music at the 'Holy Childhood High School' in Kingston, and the 'Oberlin High School', In St. Andrew where I was born. I played Guitar Duets with my classmates and also with the School's music ensemble. It was really a lot of fun for me, I was also featured on the cover of the School's first, 'School Magazine'. Then I was discovered by Professor Rex Nettleford (who was the Minister of culture Affairs in Jamaica at that time, 1979) he was also the director of the company called the NDTC (National Dance Theater Company) He needed someone who knew the 'Spanish Romance' for Guitar and was able to play it live at the theater, instead of using the recorded version. The piece was choreographed beautifully for a very talented dancing couple, which I enjoyed playing for. The performance was seasonal, and was held at the 'Little Theater' in New Kingston Jamaica. I travel with the NDTC company, to New York City, in November 1980. We Performed at the Brooklyn Academy Of Music (BAM) and the John Jay School Of Criminal Justice in Manhattan. I reside in NYC since then working outside the music business trying to make ends meet. No one knew in NYC that I know how to play an instrument, but music is always my first love, I enjoy playing the guitar for everyone, even on the Air Jamaican Airline during my 3 & 1/2hr. Flight to NYC. USA I wanted to learn more about the Guitar, so I answered an Add, offering Guitar Lessons for All Levels. I was told to bring a note book and my Guitar. I scheduled my first lesson, when I arrived the teacher asked me to play so he would know my level of playing. I played the same selection,'Spanish Romance' for the guitar that I mentioned above, The teacher stared at me as if he saw a ghost, and said I'm sorry I can't help you, your playing is too advanced, Everybody I told this Story to, had to laugh, it's funny, and they said I should have gone to The Juilliard School. Of Music, and I took their advice. I enrolled in the evening division because I had to work. The School. Is Great and I also had a great teacher! 'Dante Rosati' who show me the real playing principles, and the tremolo techniques which you will hear in my CD recordings. I could tell you about my 30yrs+ experience with concerts, TV. Radio and family in Jamaica W.I., but time and space won't allow this. I played all the instruments on all my recordings, and I hope you'll enjoy it. Bye for now. I hope we'll meet one day, somewhere, in the music world. Love, Desmond Ivey.

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Price: 25.42 EUR excl. shipping

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