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