Ann Sumner and The Bay Area Philharmonic helped with this recording and my thanks to them. Her virtuosity on the Guarneri Violin is astounding. True musicianship on her part, I simply handed her the part and within a few weeks, she had it committed to memory. No, it is not a difficult part, as the Concerto is not about how many runs the performer can do, or how brilliant her fingers are; more importantly, the Concerto is about emotive strengths. You will notice, in your listening, that the movements tend to simply end without warning. This is intentional.
The instrument performed on is a Guarneri Violin, from Andrea Guarneri (1626-98), who learned violin-making in the Cremona workshop of the noted violin maker Niccolo Amati. A competitor to Stradiveri, his violins are of a much darker timbre and tone. Ann prefers the Guarneri more than any other as it \"brings out her personality\", as she would say.
Andante: with three long solemn chords as an introduction to the solo. The Concerto is a solemn piece and given to the moods of Winter; hence the cover art.
Andantino: opens with a flute and timpani dialogue. The movement is highly discordant, with the flute theme carried over to the violins as a backdrop for the solo.
Allegretto: opens dramatically and the soloist practically struggles to be heard. This is a highly dramatic movement.
The Orchestral Lullaby No. 6 is an orchestral arrangement of a piano piece.
The Steel Mill and Construction Site: The Albert G Lane Mural Project.
This is an ongoing work, like the Grant Wood Mural Works, these are musical portraits of the 1920 - 1930 murals painted on the walls of Albert G Lane College Preparatory School in Chicago, Illinois.
Track Six and Seven:
The Two Orchestral Preludes were composed around 2001, after 911; specifically Prelude No.2 and is obviously reminiscent of those events.