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The article presents an interview with the guitarist, Brad DeRoche who has explored a wide variety of musical styles ranging from classical masterpieces to modern works by living composers. It mentions that DeRoche's love with both lyrical, passionate music of folkloric origins and the non-programmatic creations of a Baroque master.

In keeping with your love of synthesis and transformation, The Impressioni touch on a wide variety of music - in different tracks I heard what I thought were authentic flamenco clapped rhythms, quasi-Arabic melodies, Jewish/Hebraic allusions, rhythms and motifs reminiscent of Beethoven or Schumann, Italian Renaissance music, and an entire track that I heard as strongly suggestive of Gustav Mahler or Richard Strauss (Canzone popolare). Colin Clarke MayJune 2021 44.5.qxp c 3/28/21 12:50 PM Page 20 Pag e 21 ad: c Han d o s MayJune 2021 44.5.qxp c 3/28/21 12:50 PM Page 21 22 Fanfare May/June 2021 * * * Under the title Italia, the widely admired American composer Curt Cacioppo has fulfilled the implicit promise of giving a musical tour of a place close to his heart - he comes from Sicilian lineage on his father's side - but he has also created at least one work here, Impressions of Venice for string quartet, that to my mind deserves to be absorbed into the standard repertoire of modern chamber music. Elsewhere there are smartly incorporated snippets of Beethoven piano music, in which Cacioppo used the music of the master as respectful ornamentation rather than substantial quotation. 6 Fanfare May/June 2021 Concordant Diversity: A Conversation with Curt Cacioppo BY ROBERT SCHULSLAPER Previously, in Fanfare 44:2, composer Curt Cacioppo spoke with Henry Fogel about his "love of diversified layering … and the erasing of historical boundaries", touched on important influences on his music, and together with pianist Emanuele Arciuli and choral director Nathan Zullinger offered detailed commentaries on the three major works comprising Metamorphosis (Albany 1822): Armed and Dangerous, Women of Ancient Greek Myth, and Tuscan Folio, his Symphony No. 3. [Extracted from the article]

Campbell is further blessed in having in John York as his pianist partner, for York's music-making ethic, his technical skill, and his ability to intuit where and when the music demands he accompany and support vs. where and when he collaborates as an equal, make his teamsmanship with Campbell ideal. Peter Burwasser Looking Back Over a Long Career: Chatting with Clarinetist James Campbell BY JERRY DUBINS For nearly five decades, James Campbell has held the stage as one of the world's leading clarinet virtuosos and tireless advocate of musical rarities, both new and old, for his instrument. JAMES CAMPBELL, CLARINET • James c ampbell (cl); John york (pn) • c r y s t aL 330 (57:01) ARNOLD Sonatina, op. 29. [Extracted from the article]

The article presents an interview with the Pianist Bruce Leto, who talks about his music album "Gomotolo!" and "Singing Styles". Topics discussed include information on his family and Singing Style's booklet; mentions his views on favorite genre of music; and also mentions his thoughts on contemporary and classical music.

An interview with piano accompanist Elaine Keillor is presented. Keillor says that she took a keen interest in Canadian music even during her graduate studies as a musicologist at the University of Toronto in Ontario. When asked how does she resolve disputes, she notes that she has never experienced a dispute of disagreement over interpretation.