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An interview with Gary Smart, is presented. Topics include Smart's compositional process, which involves working at the piano, using pencil and paper for notation, and later transferring to digital format with the help of a copyist. Smart discusses his preference for composing at home rather than at the university, his reliance on improvisation, and his approach to structuring pieces by often starting in the middle and working towards the end to determine the overall form.

This article discusses a collection of piano works by composer Virgil Thomson titled "A Gallery of Portraits for Piano and Other Piano Works." The album features Thomson's musical portraits, which are described as attractive, sprightly, and witty, with occasional moments of poignancy. Thomson's composition process involved examining his subjects and then focusing solely on his music paper and writing. The music is highly diatonic and often incorporates Mozartian ornaments. Notable pieces include "John Houseman: No Changes," which is emotionally effective with its use of grace notes and harmonic resolution. The article also briefly mentions a recording of Sir Michael Tippett's oratorio "A Child of Our Time," which incorporates African-American spirituals and is recommended for those interested in Tippett's work. [Extracted from the article]

An introduction is presented in which the editor discusses articles in the issue on topics including the significant changes in Fanfare magazine's format and design, marking a shift from its traditional hybrid style to a more modern, magazine-standard layout with an upgrade to coated paper.

This article discusses Ekaterina Antonenko's new recording of Rachmaninoff's All-Night Vigil, which was arranged for an all-male choir by the PaTRAM Institute Choir. The recording took place at the Church of the Ascension on the Mount of Olives in Jerusalem and features the use of oktavists, extra-deep basses, to create a rich sound. Antonenko's musical background and training are explored, as well as the inspiration behind the recording. The article also addresses the unique sonority of the arrangement and the recruitment of singers for the project. Despite tensions in Russian-American relations, there were no conflicts among choir members with opposing views on the situation in Ukraine. The recording is praised for its perfect sound quality and ideal recording venue, with the conductor's pacing and the choir's performance described as deeply moving and inspirational. [Extracted from the article]

The concluding moments of the duet, beginning with Butterfly's "Dolce notte", are as thrillingly beautiful an example of Puccini singing as I know of. As you listen to Butterfly's entrance 438 Fanfare May/June 2021 MayJune 2021 44.5.qxp c 3/28/21 12:50 PM Page 438 (Tebaldi wisely avoids the optional DI at the end) you sense that this is precisely what Puccini heard in his head as he wrote the notes down on paper. There are those who prefer Tebaldi's later stereo recording of Butterfly because of the improved sound, Carlo Bergonzi's beautifully sung Pinkerton, and Serafin's imaginative conducting. [Extracted from the article]

An interview with violinist and concert director Peter Sirotin is presented. Sirotin says that both his parents are musicians and his mother was his first violin teacher but he got interested in practicing music when he was already 12 years old. He discusses how he, his wife Ya-Ting Chan and Earl Carylyss formed the Mendelssohn Trio with their similar interest in chamber music. He adds that they prefer to use paper scores rather than modern technology in playing.

Several letters to the editor are presented in response to articles in previous issues including a review of Duke Ellington's concert in 1946, Lynn René Bayley's comments in praise of Joseph Keilberth's sound recording entitled "Ring," and Mortimer Frank's paper on standards of music criticism.

The article presents an interview with violinist Susan Collins is presented. Topics discussed include influence of Charles Villiers Stanford on her work; her work as acting conductor of the Melbourne Symphony Orchestra; and her views on Fritz Hart's musical language that undergone an evolution between the earliest sonata.