Bio Stanley Woolner was born in Rochester, Minnesota in 1959. He studied composition at Stanford University and with composers Paul Siskind and Edie Hill. He is the winner of the 2007 and 2009 Eric Stokes Song Contests, and the 2010 Met-Life 'Meet the Composer' award for emerging composers. His music has been performed at the Schubert Club of Saint Paul, the Stan Rogers International Music Festival, Nova Scotia, Canada, by the Minnesota Sinfonia, featured on Minnesota Public Radio, as well as numerous other venues. Articles about Woolner and his music have appeared in Nick Coleman's StarTribune column, Minnesota Medicine, Three Minute Egg, The St. Paul Voice, and other publications. Track Notes Liban Liban was constructed around a one measure theme. An essentially chordal work that draws in the listener, and serves as an intro to the CD. (2006-8). Serenade Winner of the 2009 Eric Stokes Song Contest, Serenade was written over five days in July 2008. It is best heard on a peaceful summer's evening. (2008). So Happy An upbeat work with a delightful opening theme. Trienta y Tres A sultry, relentless work, Trienta y Tres is particularly well-suited to attentive meditative listening. This piece, in the words of one listener, 'takes you somewhere.' (2006-7). Houston County A composition in three movements. Parts I and III centered on the three note opening of part I with that motif making occasional forays into Part II. In 2004, having had just completed a most daunting work, a compositional 'break' seemed in order. The original intent was to compose a short, under two minute piece around a simple three note theme. What was not anticipated was that, paradoxically, the very simplicity of the theme lent itself to easy expansion into a much larger work. I: Awakening A tightly constructed work, built around the opening three note motif call and answer. The piece seemed to write itself, the opening motif unfurling, stretching out into ever longer melodic lines. (2004, 2009-10). II: Of the Earth Dark, brooding, pleading, plaintive. Written around a minor right hand theme over a left hand roll, the music ventures into major variations and other ideas, only to be drawn inexorably, as if in a vortex, back again and again, into the main theme. (Summer 2009). III: Evening Variations on the three motif of Part I ranging from disonant opening chords, to a triumphant tour-de-force, to a samba-esque dance. (2004, 2009-10).