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An interview with pianist Joel Fan is presented. Topics discussed by Fan include his education particularly in Harvard University, the connection between him, composer Leon Kirchner, and pianist Leon Fleisher, and his new album "Dances for Piano and Orchestra." Fan also discusses how he discovered the repertoire on his new album which works for piano and orchestra.

An interview with pianist Iskander Zakirov is presented. Topics discussed the Zakirov musical history and lineage, the influences of his instructors in piano playing, and the aspect and influence of Russian school. Also mentioned are the electronic music, his favorite living composers, and his tempos and way of piano playing.

Felicity, the first of the trombone trios, is a lovely, lyrical piece played quite beautifully by Davis and partners Devin Bennett and Daniel Marion (the latter is the bass trombonist). Davis is professor of trombone at the University of Missouri-Kansas City Conservatory of Music and second trombone in the Santa Fe Opera Orchestra. Kevin Cerovich (b. 1985) is himself a trombonist, and his piece for trombone solo, Lawrence: In Memory of Lawrence Leathers, refers to a Grammy Award-winning jazz drummer who was murdered in 2019 in a domestic dispute. [Extracted from the article]

Adding a piano, Perrault's Brother Malcolm posits an imaginary conversation between Martin Luther King and Malcolm X about Barack Obama's inauguration as President. Golden certainly deserves credit for assembling a disc that is very possibly unique of its kind in the cello literature. We get 40 minutes of music for unaccompanied English horn, all of it written by female composers, each piece displaying very different musical styles. [Extracted from the article]

The program notes indicate that de Leeuw "[threw] himself into Mahler's music like a madman" during this period, "convinced that with this very last recording he could contribute something essential to the interpretation of Das Lied von der Erde." Peter Burwasser MAHLER (orch. de Leeuw) Das Lied von der Erde • r einbert de Leeuw, cond; Lucile r ichardot (mez); yves s aelens (ten); Het c ollectief • aLPHa 633 (63:21 &) Mahler's Das Lied von der Erde calls for massive orchestral forces: quadruple woodwinds, a hefty brass section, two harps, mandolin, and a significant battery of percussion. De Leeuw's transcription of Das Lied von der Erde generally keeps the timbral palette of Mahler's original. [Extracted from the article]

Though older than Fuchs by 14 years, Brahms was an admirer of the younger Robert Fuchs (1847-1927), just as he was an admirer of the older (by eight years) Johann Strauss, Jr. (1825-1899). Whether he danced much himself or not, I don't know, but Brahms loved dance music, as is attested to by his many waltzes and Hungarian dances. The work is for solo clarinet and narrator; it is performed here in an English translation by narrator John Iles and clarinetist Sarah Watts, both of whom enter into the spirit of the piece brilliantly. [Extracted from the article]

The exceptional change comes in the later 1920s: My Birthday (1924), Prelude and Ballet (1925), and Bach's Birthday (1929) break with the placid conservatism: My Birthday, three modest pieces, offer some intriguing, modal harmony. Unfortunately the most important work, the Violin Concerto, suffers from the worst recording of all, where the reconstruction work done on the recording itself results in inconsistent sound featuring suddenly variable levels of hiss. Le jet d'eau • Laurent n aouri (bar); f rédéric Loiseau (gtr) • aLPHa 628 (41:40 &) We leave the world of the mélodies and rather enter the world of "chanson", says Laurent Naouri in the notes to this intriguing CD from Alpha, entitled En Sourdine. [Extracted from the article]

BABADJANIAN Trio for Piano, Violin, and Cello. PIAZZOLLA Las cuatro estaciones porteñas • u lana d rugova (vn); d ominique Beauséjour-o stiguy (vc); Patil Harboyan (pn) • d iv in e ar t 25211 (54:53) Quebec-based Trio de L'Île, a superb young trio for piano, violin, and cello, here presents a highly compelling program of two relatively obscure mid-20th-century works with Armenian roots, plus a substantial work by Astor Piazzolla. Piano Trio/Trio for Piano, Violin, and Cello/Las cuatro estaciones porteñas. [Extracted from the article]

The article presents the discussion between romantic pianist Jerome Rose about music. The topics discussed include his perspectives about music, art of pianism, and his views about his teacher Adolph Baller. Moreover, it also mentions about the compilation of the solo piano music of Franz Liszt and the poetry "Un Sospiro."

An interview with pianist Sylvia Berry is presented. Berry notes that he relearned the pieces in his disc on the Broadwood. She recounts her decision to apply for the Master's in Music degree in terms of historical keyboard instruments. She considers instrument-composer matching very significant. She admits the magical outcome of playing an antique composition despite the fruition of modern-day fine builders.

An interview with Pianist Mary Kathleen Ernst is presented. The pianist relates how she become interested in a broad range of music like Baroque. Ernst discusses her performance with some American women composers. She also recounts her recording of Leon Kirchner's music "Duo No. 2" with Violinist Hasse Borup.

An interview with musician Julian Cochran is presented. When asked about how he evolved from being a performer to a composer, Cochran mentions his trainings at the Elder Conservatorium at the University of Adelaide when he was aged 14. Cochran also cites his interests with the sonatas of Beethoven. The musician also discusses his music and his playing.

The article offers the author's insights on composer Daniel Dorff. The author relates a formative period in the composer's career which happened in graduate school in 1970s. Dorff says that he was meant to work at the music publisher Theodore Presser Co., citing his the trouble he got into when he corrected his teacher's grammar. The author cites various compositions of Dorff including "Perennials," "Three Romances," and "Two Cats."

The article discusses the life of musician Fred Sturm. It notes that Sturm used to study a liberal arts major in college and his hunger for knowledge on music history and theory has earned him a master's degree in piano. It aso tackles how his choice of music has helped him in reinventing his physical technique and approach to the instrument.

The article features composer John Carbon and pianist Steven Graff. Both Carbon and Graff cite their amateur piano-playing fathers as major influences. Carbon began studying the piano with his father at age five. On the other hand, Graff states that piano became the center of his musical universe by the time he was a teenager.

The article features composer Jay Reise. It says that he used to describe classical Indian music as the influence on his compositional style and he has incorporated Carnatic music which is predominant genre of southern India. It mentions some of his music pieces including "The River Within", "Piano Sonato No.2" for Konstantino Papadakis and 'The Flight of the Red Sea-Swallow" for violin and piano.

An interview with pianist Japanese-born pianist Grace Nikae is presented. Nikae states that the different styles of music in Hawaii made a positive impact on her life. She also reveals that her decision to pursue a music career only came during her senior year in high school even though music became part of her life since childhood. Nikae further emphasizes the importance of conservatory training in her professional career in classical music.

The article profiles American composer and instrumentalist Philip Swanson. He had the opportunity to work with the University of Illinois' jazz program at Urbana in 1969, and has maintained an involvement in the classical and jazz realms of music. In 1979, he studied piano and composition at Eastman School of Music. He had composed the music "Ikkyu's Dream," performed by pianist Philip Swanson.

The article profiles Canadian pianist Christina Petrowska Quilico. She is a professor of piano and musicology at York University in Toronto, Ontario. Her career has demonstrated a predilection for new ways of making art. She has practiced both drawing and writing on a professional level. Classical composers such as Robert Schumann, Johannes Brahms, and Franz Liszt remain a part of her repertoire.