Music Samples

Music Samples (Click on a link to listen)

Composers of the Holocaust
LE 342, Leonarda Productions, P.O.Box 1736, New York, N.Y. 10025-1559
Downtown Music Productions, Mimi Stern-Wolfe, Artistic Director
Mimi Stern-Wolfe, piano
Shtil, di nakht iz oysgeshternt – Hirsh Glik
Wiegala – Ilse Weber (music and words)

 

Kaleidoscope
MNGS 9000, Second Hearing Ltd, New York, NY
Motettu de Tristura (from “Folksongs” – Luciano Berio)
Azerbaijan Love Song (from “Folksongs” – Luciano Berio)

 

Let’s Call the Whole Thing Off – Songs of the Gershwins
KPD/pm-10.4012, Tecnosaga, S.A., Delores Armengot, 13, 28025 Madrid, Spain
tecnosag@tecnosaga.com, http://www.tecnosaga.com
Edward Murray, piano, arranger; Peter Chwazik, bass
Fascinating Rhythm
Vodka
The Man I Love

 

Schleppin West
“The Best Little Klezmer Band in Texas”, Marcia Sterling, Director
BLK, Inc., P.O. Box 722385 #171, Houston, TX 77272
Information: (800) 332-0689
Nie Serdis / Moya Tziganotchki (arrangement: Isabelle Ganz)
Hot A Gutn Chanukah (arrangement: Daniel Strba)
Eyshes Chayil (A Woman of Valor) (transcription: Don Elam)

 

William Thomas McKinley
MMC 2034, MMC Recordings, Ltd, P.O. Box 2127, Woburn, MA 01888
Slovak Radio Symphony Orchestra, Robert Black, conductor
Three Poems of Pablo Neruda – III “Octobrine”

 

Berio – The Complete Sequenzas, Alternative Sequenzas & Works for Solo Instruments
Mode Records, PO Box 1262, New York, NY 10009
Sequenza III for Woman’s Voice
“The performers, a veritable Who’s Who of great soloists including Irvine Arditti, Stuart Dempster, Rohan De Saram, Isabelle Ganz, Ulrich Krieger, Seth Josel and Aki Takahashi (to name but a few), contribute with heartfelt passion to the success of the project.”
“The spectacular theatre of voices performed by Isabelle Ganz in Sequenza III is typical Berio/Berberian matter, but noteworthy for its avoidance of the insufferable (at least for this writer) technical gadgetry usually associated with the female voice in contemporary music (much of which, ironically enough, was instigated by Berberian herself). Ganz’s rendition is just superb – and surprisingly sober, giving the work a real touch of class.”
— Massimo Ricci, www.paristransatlantic.com, October, 2006