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The article presents an interview with Jeffrey Hall, a composer, discussing his music and the release of his Artifact series on Navona. Hall talks about his musical influences and the importance of his teachers. He also describes his approach to composition, focusing on tonality, melody, and the construction of "tunes.He also discusses the use of silence in his music and addresses the melancholic quality of some of his compositions.

This voyage of discovery begins with the op. 10 set of Chopin Études, Slenczynska's first recordings for her Decca contract, and beautifully molded performances they are. The Chopin op. 9/1 Nocturne finds her if anything even more attuned than on the all-Chopin discs; her elfin Mendelssohn speaks of the world of Midsummer Night's Dream. In the op. 25 set, Slenczynska is revelatory; the legerdemain of op. 25/2 and the capricious nature of op. 25/3 (F Major) is spot on. Henry Fogel RUTH SLENCZYNSKA: Complete American Decca Recordings • r uth s lenczynska (pn); c arl Melles 1, Henry s woboda 2, cond; s of the air 2; v ienna s o 1 • eLo Qu en c e 484 1302 (10 c d s: 445:00) CHOPIN Études, opp. 10 and 25. 4 Impromptus. [Extracted from the article]

Colin Clarke 90 Fanfare May/June 2021 MayJune 2021 44.5.qxp c 3/28/21 12:50 PM Page 90 * * * The extensive liner notes by Lithuanian pianist Rasa Vitkauskaite explore in academic and perhaps pedantic detail the relationship between the first minor-key concertos of Mozart and Beethoven, respectively. Colin Clarke Pianist Rasa Vitkauskaite in Interview BY COLIN CLARKE Lithuanian pianist Rasa Vitkauskaite was previously interviewed by Robert Schulslaper in Fanfare 38:2, in connection with her Ongaku debut solo disc Reflections (music by Ravel, Lowell Liebermann, Beethoven, and Guastavino); but as that was a little while ago, a précis of her activities might be in order. (I also note there's a Smetana; in fact he wrote one for Mozart's No. 20 too!) Just as with Mozart's D-Minor, I remember hearing Paul Lewis's performance of Beethoven's C-Minor at Tanglewood a few years ago, and I was so moved by its power, expansive range, and coloristic possibilities that I could not imagine choosing a different cadenza for my own recording of the work. The Concerto No. 3 is Beethoven's only minor-key piano concerto, and the Concerto No. 20 is one of only two from Mozart (the other is the Concerto No. 24 in C Minor, K 491, sharing the same key as the Beethoven). [Extracted from the article]

Huntley Dent Interview with Pianist Iris Elezi BY KEN MELTZER Pianist Iris Elezi is featured in a new solo recital, available via download from iTunes. Colin Clarke From the Depths, and From the Heart: The Music of Fraser Clark BY COLIN CLARKE It is a real pleasure to interview Scotland-based Fraser Clark around his EP from the depths. In various comments on the EP, Clark explains: "The challenge I set myself was to write music that was interesting to both myself and audiences alike. Colin Clarke * * * from the depths, a five-track EP, features solo piano music composed and performed by the Scottish (b. 1983, in Perth) musician Fraser Clark. [Extracted from the article]

The article focuses on Mia Brentano's latest album, "American Diary," a continuation of Klaus Martin Kopitz's ongoing musical narrative, exploring the Mia Brentano sound characterized by repetition, collaged sounds, modern Romanticism, Classical roots, and fusion of musical genres. It mentions the album represents a new chapter in the musical journey, offering a nostalgic yet continually surprising experience.

The article presents an interview with violinist, Marcio Candido about standard disc of music from Brazil and Argentina. It mentions the realm of general compositional style, Miguéz that understood being associated with the Wagnerian aesthetic. It discusses about the sonata for violin and piano in a major by Leopoldo Miguéz.

An interview with bass-baritone Mikhail Smigelski is presented.

The article presents an interview with composer Brian Field. It discusses how he can turn his hand to widely divergent modes of expression with equal success. It mentions from the Christian songs to the more progressive Tres Canciones de Amor, to the biting satire of Let's Build a Wall to the Modernistic passages of Chimneys, sonnets-realities, Field offers a kaleidoscopic world vista.

A personal narrative is presented which explores the author's experience of exploring the music of Armenia with Monika Chamasyan, one of the violinists of the Chamasyan Sisters and secondly, covering remotely, via the internet, the 2020 Khachaturian Violin Competition.