Program Notes by Leopold Godowsky III Queen of Hearts Fanfare for brass quintet was written for the grand entrance of the mad and colorful Queen of Hearts character in a staged theatrical production of Alice in Wonderland. Like her erratic, insane behavior, the rhythms, melodies, and harmonies move in unexpected directions, with sudden use of strange intervals, extra beats, syncopations, abrupt stops and so forth. String Quartet No. 1 is dedicated to my father who was a concert violinist and inventor. His greatest passion in life was playing chamber music, and he was a master of interpretation. I dedicated this work to him in gratitude for the invaluable musical knowledge he gave to me. The 1st movement, in classic sonata form, opens with the motive 'DAD' which recurs in many ways throughout the movement. The 2nd movement is a theme and variations based on Bach's Chorale melody O Traurigkeit (Oh Sorrow). The 3rd movement is a Bach invention-like scherzo. The 4th movement is a rondo with an extended pizzicato section in the middle of the movement. Wind Paintings is presently in two movements. The first movement's purpose is to recreate in music the simple yet expressive and voluptuous sensibility of Matisse's line drawings. It is a five-part fugue, and part way through the subject is inverted with added trills that convey a humorous quality. The second movement's intent is to capture the wit and color of Miró paintings. The third and fourth movements have not yet been written. The third movement will represent the multidimensional and deep spiritual feeling of Paul Klee's paintings. The fourth movement will aim to capture the swirling rhythms and subtle-to-brilliant colors of Wassily Kandinsky's paintings. Jonah Oratorio ?I chose to dramatize this parable from the Bible by musically 'painting' it's moods and narrative. Jonah lends itself to music, quite literally in the undulating rhythm of waves and the dissonance of the storm. The listener can seek out and recognize other such references. The sole use of a vocal ensemble presents a reverential, intimate approach-the six voices sounding more pure to my ear. There are playful colorations of the words and, in the voice of Jonah himself, prayerful intonations of his predicament and salvation. Also, I chose this story as one that had yet to be told musically and for my abiding interest in whales as creatures of majesty, power and wonder. A Sunny Day, String Quartet No. 2 is one movement in three sections. The first section paints the sunrise with it's solo, slowly repeated, low-C ostinato in the cello followed successively by each instrument individually introducing and layering ascending notes. The section following the sunrise is the Sunny Day, a double fugue. It's first theme (the subject for the first 4-part fugue) is based on the melodic structure of the opening bars of the sunrise but is much faster, jumpy and jovial in character. The contrasting second theme (the subject of the second four-part fugue) is romantic and lyrical. After the second theme is treated fugally, the development section is enriched with various fugal devices such as the two themes in counterpoint, motivic treatments, inversion, more ostinato, augmentation, diminution, stretto, etc. In the third section the notes descend slowly like a sunset with the underlying rhythm of the original ostinato of the sunrise. The work ends with the same intervallic, thematic relationship of notes as in the beginning. The Garden of Earthly Delights for brass quintet is based on Hieronymus Bosch's extraordinary triptych (c. 1490-1510; The Prado, Madrid). The first movement illustrates the painting's closed panels representing 'The Creation' depicting an emerging world suspended in a dark, mysterious universe. The second movement portrays the heavenly, serene left panel of The Garden of Eden with Christ, Adam and Eve in the foreground. The third movement reflects the hedonistic, fantastical and surreal center panel of The Garden of Earthly Delights. The fourth movement describes the tempestuous, tortuous right panel depicting Purgatory and Hell that musically shows such contrasts as fire and ice, light and dark, war and eerie quiet, excruciating existence and oblivion with music that changes abruptly in mood, tempo, harmony, dynamic range and color. The fifth movement, a slight musical variation of the 1st movement, is 'Re-creation.' Scherzo for Harpsichord was the first work I completed when, at the age of 40, I decided to try my hand at composition. Previously, I chose not to compose because I was averse to writing in the unemotional and harshly intellectual style in vogue at that time. But having had inspiring dreams of powerfully original musical content in my late 30s, I felt compelled to explore the compositional process that became my calling. After writing this little scherzo, I decided to write a major work, my String Quartet No.2, and include this scherzo as it's 3rd movement. Cafeteria Suite for saxophone quartet was written for a film based on a story by Isaac Bashevis Singer, which was aired nationally on PBS's American Playhouse. The movie was a social, romantic and supernatural memoir of Singer's first years as an Eastern European immigrant in New York. My task was to capture an Eastern European musical flavor and blend it with a feeling for the atmosphere of New York City while serving the narrative of the film. I originally planned the music so that it could be adapted to this concert piece. The first movement's introduction is a fugal subject based on the first theme that represents the leading male character. The second theme musically represents the effervescent leading female character. All the movements of this piece, which are highly contrapuntal, are based on only these two themes that appear in many variations and counterpoint. Moonshine Rag ?I performed George Gershwin's Rialto Ripples, Scott Joplin's Maple Leaf Rag, and Solace and rags by Joseph Lamb which inspired me to compose and perform my own rag, Moonshine Rag. At the end of some of my concerts I would choose to perform the Moonshine Rag as an encore. I've included the Rag in order to end the CD with a completely different and lighter listening experience.