composed by:
CD cover design:  Peaks Island, Maine artists Cole Casewell and Jessica George

Photo: David Finlayson
From left to right:  Bill Blossom (double bass), Katherine Greene (viola), Jon Deak (composer), Wendy Stern (flute) and Barbara Allen (harp).


Video ©2008 Wyman/Gundling/DuFour
Contact: Drew Wyman (café solo media llc  207.232.4117)

Jon Deak is also the founder and director of The Very Young Composers, the Creative Education Advisor of the New York Philharmonic, as well as its Associate Principal Bassist.  His compositions have been performed by such Symphony Orchestras as the Chicago, National, New York Philharmonic, Minnesota, Cincinnati, Vancouver, Dallas, and many others and at music festivals worldwide.  His Concerto for Contrabass and Orchestra (Jack and the Beanstalk) was nominated in 1990 for the Pulitzer Prize.  He is the only performing member of the NY Philharmonic in its 168 year history to have been commissioned to write a work for that orchestra.  His works have been recorded on numerous labels, and his music is available at publisher Carl Fischer/Theodore Presser, L.L.C.  Jon's fascination with Asia and with Japanese culture in particular, dates from the many tours he has had the privilege to make with the New York Philharmonic to that country.

"What little is known about the particulars of John Mooney's life I gathered from a mutual friend and former colleague from my Milwaukee Symphony days, violinist David Edward Collins.  Mooney was born in Terre Haute, Indiana in 1916 and died in Lafayette, Indiana in 1990.  He evidently did graduate work at Indiana University, as he presented a symphonic work as a thesis or dissertation there.  He has further studies in composition with Miklos Rosza and Robert sanders and was on the faculty of Brescia College in Owensboro, Kentucky.  His other works include dozens of piano preludes, sonatas for various instruments, chamber music, songs and some symphonic works including a violin concerto.  To the best of my knowledge, the Poeme for Double Bass and Piano is his only recorded and published work."
                                                                                                                    — Bill Blossom

Alvin Brehm's relentless pursuit of the muse has brought substantial recognition as a performer, composer, administrator and teacher.  Guest appearances with the world's leading chamber groups including the Budapest, Guarnari, Lenox, St. Petersburg, and many, many other quartets, and as an Artist-Member of the Lincoln Center Chamber Music Society have firmly established his performing credentials.  His compositions have been performed in Lincoln Center, Carnegie Hall, and other major halls, and on American and European tours.  Administrative posts included Dean of the Conservatory at the Purchase campus of the State University of New York, chairman of the national Chamber Music Panel of the Endowment for the Arts, and chairman of the state-wide Music Panel of the New York State Arts Council.

Ron Wasserman's tonal and listenable music is influenced by a wide range of styles, but no matter where his eclectic tastes take him, he retains a special affinity for writing music suitable for the dance.  This is no surprise since he has held the position of principal bassist of the New York City Ballet Orchestra for over twenty years.  Another facet that appears throughout his music is a strong consciousness of jazz harmony and a feeling of improvisation.  In July 2005, he received his first orchestral commission from the New York City Ballet to compose a short introductory fanfare celebrating the forty year residency of the Ballet at the Saratoga Performing Arts Center.  In January 2005, Ron arranged several Astor Piazzolla Tangos to accompany the new production of Peter Martins' reworked balled, "Todo Buenos Aires." His orchestra work "Lament and Restoration" a 9/11 memorial concerto for violin, strings, and harpsichord was recorded in 2004 by the micro-label Red Bandanna Records along with his "Suite of Historical Dances."  "Lament and Restoration" was previously performed in Sant'Oreste, Italy  and Nyack, New York.  In May of 2005, "Lament and Restoration" was made into a ballet entitled, "Red Bandanna," choreographed by Margo Sappington for a performance by Valentina Kozlova and the Dance Conservatory Performance Project.  He has also composed several highly regarded arrangements of traditional spirituals, jazz numbers and rages for the Westchester Philharmonic and the New York City Ballet Orchestra.