October Shows

Hi everyone. October is a busy month- 4 shows in the next 2 weeks! Hope to see you at one of these (the first 2 events are free):

Wednesday, October 14, 2015  8 pm
New Sounds Live at Brookfield Place
Winter Garden 220 Vesey Street
Admission Free
Composer David Lang & 120 Guitars
Witness the world premiere of David Lang‘s “questionnaire,” a new piece for 120 guitars. Third Street and Pulitzer Prize-winning composer David Lang join forces for the 120th anniversary of the Third Street Music Settlement. Plus, composer/guitarist Ben Verdery’s “Ellis Island” and other solo piano pieces by Lang
Friday, October 16, 2015 8 pm

Leonard Nimoy Thalia at Symphony Space
2537 Broadway, New York, NY 10025
Admission Free

The Stefan Wolpe Fund proudly presents world premieres by Harold Meltzer, Jonathan Dawe, Yehudi Wyner and William Anderson. Featuring Vox n Plux. Produced by Zaidee Parkinson, William Anderson and Alanna Maharajh Stone with generous support from The Roger Shapiro Fund for New Music.Tuesday, October 20, 2015 7 pm
Creviston-Fader Saxophone and Electric Guitar Duo share an evening with guitarist David Rogers 

Shape Shifter Lab  18 Whitwell Place (Between 1st and Carroll Str, off 4th Ave- Park Slope) Brooklyn , NY 11215
Works by Schwartz, Wanamaker, Djupstrom, Ferrante, Claman, and Hause

Thursday, October 22, 2015 8 pm
Circuit Bridges Concert No 36:
Vox Novus XV Festival

WhenThu, October 22, 6:30pm – 9:30pm
WhereGallery MC, 549 W 52nd St, New York, NY, United States
$15 admission $ 7 students
Join us to celebrate the 15th Anniversary of Vox Novus. Concert No 36 will feature composers from New York and the Birmingham Art Music Alliance, Alabama.
Composers include Lynn Bechtold, Eve Beglarian,
Mark Lackey, Neil Leonard, and others.

Vox n Plux at the Thalia

Wolpe Concert 2015 Postcard_JPG


Fall 2015 Newsletter

Greetings, all!
Welcome to my Fall 2015 newsletter. Hope to see you soon at an upcoming show!
The Anderson-Fader Duo’s recent video on Youtube has over 120,000 views! Check out the video, music from Damon Ferrante’s “Footbridge” for 2 guitars.Vox n Plux: Here’s our new video, featuring music by Meltzer, Sondheim, Anderson, Greenbaum, and Ives

Recent recording by David Claman: “Avaley Taan”, featuring Cygnus Ensemble musicians and Jessica Bowers, mezzo, and Elizabeth Farnum, soprano

Brand new CD (released last week!) from Masatora Goya, “Dream of Sailing”, featuring chamber and solo music, much of it with guitar. Listen to: “Sunset on the Hudson”

William Anderson’s amazing “Djuna Barnes Settings” is now recorded by Vox n Plux! The first movement features William and I singing as well as playing!

Mezzo soprano Jessica Bowers and I performing Weill at a Poetica Musica benefit last season. We will perform this and others at the upcoming Poetica Musica show on September 19 (see below)

Here’s a great review of a recording by Corinne Winters and Steven Blier that I had the pleasure of playing on.

I also got to perform guitar works from Neil Leonard’s recording, “Mil Maneras” at Spectrum, and will play them again October 22nd at the Vox Novus show (see below). Listen to the recent recording here.

Recent recording featuring works by Paul Salerni, with 3 pieces including guitar. I’ll perform Salerni’s “Bad Pets” at the Poetica Musica show on September 19 (see below)

My 2 solo cds, “Another’s Fandango” and “First Flight” are available here.
Upcoming Shows

Sep 19: Old Westbury, NY – Poetica Musica- American Pie- works of Gerhswin, Beaser, Weill

Oct 14: New York, NY – New Sounds Live- a hundred guitars!

Oct 20: Brooklyn , NY – Creviston-Fader Duo (sax and electric guitar) share an evening of new guitar music with David Rogers at shapeshifter lab; new music from Liza Sobel and Damon Ferrante

Oct 22: New York, NY – Vox Novus 15 year anniversary concert

Nov 8: Philadelphia, PA – Cygnus Ensemble with Sara Shafer, soprano

Dec 2: New York, NY – Riverside Symphony and Vox n Plux

Dec 6: New York, NY – Composers Concordance- A celebration of Jimi Hendrix

Dec 8: New York, NY – Cygnus Ensemble at the Morgan Library-Hemmingway between two wars

And stay tuned for shows in 2016:

Jan 29, 2016: New York, NY – Festival Chamber Music

February 25-26 Talea Ensemble

May 10 Milton Babbitt Centennial! Location TBA! Will include the Anderson-Fader Duo performing the work written for them, Solo e Duettini.

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And, thanks to my Cuz, Tony Fader, for the website help.
Rock on!

To read online click Here


New CD from Masatora Goya

Release Date: October 9, 2015

Catalog #: RR7914


Masatora Goya


It is often not until the brutal weight of loss and grief bears down upon us that we are forced to ponder the meaning of life and reconsider our own path of existence. Composer Masatora Goya presents his debut Ravello Records release, DREAM OF SAILING, a collection of chamber works inspired by the life and passing of Goya’s father, Masahiro.

As a hard working marine engineer, Masahiro dedicated great lengths of time at sea, often spending months away from his family. The ocean was where Masahiro belonged, a refuge to which he’d find himself repeatedly returning. Within this album Goya expresses a somber tribute to his father while also reflecting on his own life as a composer and man.

In the title track, guitarist Scott Hill and flutist Melanie Chirignan capture the imagined last journey of Goya’s father returning to sea, sailing into the blissful lights of a fading dawn. Where It Begins, Where It All Ends depicts the cosmic voyage of our consciousness, challenging our understanding of emotions and our place in the universe. Questioning our conception of death, the elegiac work Distance reflects on our uncertainty of and detachment from death as well as the purpose of its existence. The album concludes with Sunset on the Hudson in which guitarist Oren Fader brings to mind a beautiful sunset, fulfilling and comforting, yet at the same time unsettling and lonesome. Goya challenges listeners to accept our ultimate fate by embracing the satisfactions as well as the regrets of life.

This album features a web-application which includes liner notes, composer and performer biographies, and more:



– Goya is the assistant director of Vox Novus Composer’s Voice, a concert series which provides composers an opportunity to express their own aesthetic or personal voice

– He is the recipient of the ASCAP Plus Award, the Jerome Fund for New Music, and the Diversity Doctoral Fellowship at SUNY Purchase, among others

– Goya received a BA in Integrated Human Studies from Kyoto University and a Master of Music from New Jersey City University

Alturas Duo, the group comprising of guitarist Scott Hill and violist Carlos Boltes, took first prize at the 2006 New England International Chamber Music competition and won the 2009 CMA/ASCAP Award for Adventurous Programming. The Duo is a Goodwill Ambassador for the Chilean-American Foundation and has recently been named Artist in Residence for the Intake Organization

– Guitarist Oren Fader can be heard on over 40 commercial recordings and has premiered over 400 contemporary guitar music, working closely with composers such as Babbitt, Boulez, Carter, Davidovsky, and David Lang. Since 1994, Fader has been on the guitar and chamber music faculty of the Manhattan School of Music

– Violist and violinist Conway Kuo is currently the Associate Principal Second Violin of the New York City Ballet Orchestra and performs regularly with the New York Philharmonic and Philadelphia Orchestra



Masatora Goya is a composer extensively writing a new kind of chamber music for everyone. Trained as a vocal performer first, he explores the musical landscape of drama, space, and emotion. Described as a “composer of cultural crossroads” by American Composers Forum, his unique eclecticism has attracted many musicians performing in nontraditional chamber ensembles.


Ravello Records is the contemporary classical label imprint of audio production house PARMA Recordings. Dedicated to highlighting forward thinking composers and musicians from around the world, the New England-based label’s eclectic catalog offers listeners a cross-section of today’s up-and-coming innovators in orchestral, chamber, and experimental music.

223 Lafayette Road

North Hampton NH 03862


press (at)

603.758.1718 x 152




22 August 2014

CD REVIEW: CANCIÓN AMOROSA – SONGS OF SPAIN (Corinne Winters, soprano; Steven Blier, soprano; GPR Records GPR70013)

CD REVIEW: CANCIÓN AMOROSA - Songs of Spain (GPR Records GPR70013)

NARCÍS BONET I ARMENGOL (born 1933), JOSÉ MELCHOR GOMIS (1791 – 1836), JESÚS GURIDI BIDAOLA (1886 – 1961), ALBERTO HEMSI (1898 – 1975), FÉLIX LAVILLA MUÑARRIZ (1928 – 2013), FEDERICO GARCÍA LORCA (1898 – 1936), XAVIER MONTSALVATGE I BASSOLS (1912 – 2002), MANUEL GARCÍA MORANTE (1886 – 1942), MANUEL PENELLA MORENO (1880 – 1939), JOAQUÍN NIN Y CASTELLANOS (1879 – 1949), GRACIANO TARRAGÓ (1892 – 1973), EDUARD TOLDRÀ SOLER (1895 – 1962), and JOAQUÍN TURINA (1882 – 1949): Canción amorosa – Songs of Spain—Corinne Winters, soprano; Maya Lahyani, mezzo-soprano; Oren Fader, guitar; Steve Blier, piano [Recorded at Sound Associate Studios, New York, USA, 2 – 3 and 25 October 2013; GPR Records GPR70013; 1CD, 49:43; Available from Amazon, ClassicsOnline, Presto Classical, and major music retailers]

Spain is a nation of contrasts. One of the last bastions of exoticism in modern Europe, Spain and her people have clung to elements of their endemic culture even as the Twenty-First Century has ushered in a solidification of the transition from the post-Civil War autocracy of Francisco Franco to today’s vibrant, socially-progressive democracy. As has been achieved almost nowhere else in the world, Spain has embraced reform without discarding or ignoring the past. Ambiguity is at the heart of being Spanish: the soul of the nation responds with equal enthusiasm to protests and religious processions, bullfighting and environmental conservation, respectful discourse and raucous football rivalries. All of this is evident in the back streets of Madrid and Barcelona, but it is nowhere more explosively eloquent than in the indigenous music of Spain. The very notion of a native Spanish music is a contradiction, of course: blending the influences of Christian, Islamic, and Judaic traditions, the music of Spain is a piquant paella that teases, threatens, and torments. Spanning virtually the entire musical history of modern Spain, the songs on Canción amorosa spread their seductive melodies into the grand spaces of the Plaza Mayor and la Rambla, the dusty carreteras of Andalucía, and the windswept shores of Galicia. The politics, literature, art, and spirituality of Spain surge through these songs, and when performed with the open-hearted sincerity that they receive on Canción amorosa they allow even the casual listener to momentarily hear, think, and feel as a Spaniard.

One of America’s foremost protectors of the Art of Song, exemplified by his founding work with the New York Festival of Song, pianistSteven Blier is an artist for whom the interpretation of song is second nature, and in these performances of fifteen of Spain’s most alluring inspirations in the genre he discovers in young Maryland-born soprano Corinne Winters a companion for this journey who needs no atlases or musical road maps. Spanish Art Song and zarzuela—Spain’s emblematic género chico—are particularly susceptible to the stupid notion that they are among those art forms that should be left to ‘natives.’ Galina Vishnevskaya and Irina Arkhipova naturally had special relationships with the operatic and song repertories of their native Russia, just as Pilar Lorengar and Teresa Berganza were attuned by right of birth to Spanish repertory. Neither Lorengar and Berganza nor Alicia de Larrocha were more suited to expressive performance of Spanish music than Ms. Winters and Mr. Blier here prove themselves to be, however. Their partnership is one of complementary virtues. Mr. Blier’s playing is marked by the kind of insurmountable virtuosity that deals handily with the greatest difficulties without ever calling attention to itself, and Ms. Winters’s vocalism is consistently artful without ever seeming artificial. Their partnership is shaped by obvious affection for the music at hand and the simple joy of two musicians interacting in ways that surprise and delight. What makes their trek through the aromatic harmonies of Spain so transporting for the listener is the abandon with which they surrender themselves to the music. Try to listen to any of the songs on Canción amorosawithout sensing in the mind the delicate fragrances of almonds and saffron hanging in the air.

Ms. Winters and Mr. Blier launch their exploration of the musical topography of Spain with Eduard Toldrà’s setting of Francesco de Quevedo’s poem ‘Después que te conocí.’ Examining the ways in which love alters one’s perceptions of life, the Castilian text draws from Ms. Winters singing of great refinement, the delicacy of her approach contrasting with the formidable security of her singing. Her vocal storytelling is no less poised but passionate in ‘Maig,’ Toldrà’s setting of an evocative Catalan poem by Trinitat Catasús in which reflections of human passion are observed in nature, including portentous tidings in the May moon that bring to mind the effusions of ‘Casta diva’ in Bellini’s Norma and ‘Měsíčku na nebi hlubokém’ in Dvořák’s Rusalka, both of which are arias with which, in time, Ms. Winters could do much. ‘Paño murciano,’ Havana-born Joaquín Nin’s arrangement of a ‘dance from Murcia,’ contemplates the price of setting a lover’s kiss in silver, and it is the glow of molten silver that flows in Ms. Winters’s voice, compellingly framed by the calm brilliance of Mr. Blier’s playing. All of the threads in these songs are woven together in a fascinating tapestry in Lope de Vega’s ‘Si con mis deseos,’ set to music by Joaquín Turina that subtly reveals the abiding power of love to conquer both man and nature.

One of the starkest songs on the disc is ‘Aldapeko, Mariya,’ Félix Lavilla’s setting of a traditional Basque poem that tells of the despair of a woman pregnant with the child of wealthy landowner. The hopelessness in Ms. Winters’s recounting of the unwed mother-to-be’s tacit contemplation of suicide is made more poignant by the uncompromised beauty of tone. The truest sense of bel canto is present throughout her singing of these songs, in fact: she brings to these melodic feasts a voice that is rich without ever seeming heavy, and the depth of her interpretations is derived from her attention to the nuances of text and the expressive interplay of her collaboration with Mr. Blier. Together, they convey the metaphor of love being like the union of wind and waves imparted by Xavier Montsalvatge’s ‘Cançó amorosa,’ a setting of a Catalan poem by Tomás Garcés that inhabits the same world as the texts of Elgar’s Sea Pictures. Federico García Lorca’s arrangement of the Eighteenth-Century folk song ‘La Tarara,’ a musical portrait of a legendaryalma gitana, offers Ms. Winters the opportunity to create a character with almost operatic intensity, a feat which she accomplishes unforgettably to the accompaniment of guitarist Oren Fader. Mr. Fader’s playing also contributes stirringly to Ms. Winters’s performance of ‘Nik baditut,’ Graciano Tarragó’s arrangement of a Basque folk in which the singer vaingloriously catalogues earthly possessions, ostensibly in an effort to impress a potential lover. Mr. Fader joins Ms. Winters and Israeli mezzo-soprano Maya Lahyani in acutely sensitive performances of Mr. Blier’s arrangement of José Melchor Gomis’s ‘Si la mar fuera de tinta,’ its likening of love to a light in darkness projected with appropriate luminosity, and ‘Todas las mañanitas’ from Don Gil de Alcalá, a gorgeous piece by Manuel Penella Moreno, the composer of the celebrated zarzuela El gato montés.

A setting by Narcís Bonet of verses by Joan Maragall, ‘Haidé’ unifies the divergent emotional profiles of ‘Com una flor,’ ‘Ves qui t’ho havia de dir,’ and ‘Jo porto el teu pensament’ with vigor and originality, and Ms. Winters sings the piece with careful negotiation of its caprices of expressivity and vocal writing. Alberto Hemsi’s arrangement of the traditional Sephardic song ‘Tres hijas tiene el buen rey’ deals almost insouciantly with a father’s incestuous infatuation with his most beautiful daughter, touching in its perusal of the relationship between father and daughter the milieu of King Lear, but Ms. Winters downplays the uncomfortable implications of the text with her lustrous, practically playful singing. She enunciates the Ladino text with the same unaffected accuracies of stress and accent that she exhibits in the Basque, Castilian, and Catalan selections. The dual smallness and infiniteness of human love are celebrated in the folk poem ‘Cómo quieres que adivine,’ set to music of incredible beauty by Jesús Guridi, perhaps the greatest genius of Basque music in the Twentieth Century. Both to this and to ‘Paisatge del Montseny,’ Montsalvatge’s setting of Pere Ribot i Sunyer’s paean to the manifestations of love and man’s connection with the divine in the exquisite landscapes of the Montseny Massif, Ms. Winters lends vocalism of the highest order, the integration of her soft-mahogany lower register with the comet-like bursts of tone in her upper register reliable and frankly surprising for so young a singer. The best of her artistry is poured out in the haunting ‘Adío querida,’ a timeless Sephardic melody arranged by Manuel García Morante, and here as in every song Mr. Blier’s playing is so intrinsically synchronized with Ms. Winters’s singing that she might well be thought to be accompanying herself.

Offering performances of fifteen songs that any nation should be proud to claim as representatives of its unique artistic identity, few discs succeed as completely and memorably at capturing in sound the essence of a culture as Canción amorosa manages to do, but few labels are as accomplished in the art of giving artists and composers recordings worthy of their endeavors as GPR Records. Steven Blier is a tireless and erudite champion of Art Song whose work in a fascinating and always-growing repertoire deserves to be recorded frequently and with the quality lavished on this disc by his co-producers, Glen Roven, Peter Fitzgerald, and Richard Cohen. Corinne Winters introduces herself on disc not with a template recital of the same tired material intoned by many young sopranos but with an incandescent disc that says, ‘¡Oye! Soy diferente!’ Solely for being different, Canción amorosa earns the distinction of being one of the most enjoyable recordings released in recent years. As a performance that temporarily subdues the cares of the world with sly smiles, sighs, and splashes of sangria, it truly inspires sentimientos amorosos.


Cygnus Ensemble performs music of Mario Davidovsky



Playing with Manchester Music Festival November 30th in Vermont

Manchester Music Festival 2013 Holiday Concerts



Saturday, November 30, 2013 at 4 p.m.
United Church of Dorset and East Rupert, Dorset, VermontManchester Vermont String Quartet Concert

The Manchester String Quartet
Joana Genova and Deborah Buck, violins
Ariel Rudiakov, viola; Benjamin Capps, cello
with Oren Fader, guitar

Presents an afternoon of strings and Spanish guitar:
Piazzolla’s L’Histoire du Tango, Eduard Angulo’s Paseos
and Tchaikovsky’s String Quartet No.1 in D Major, Op.11

Tickets: Adults $30; 18 and under $13 (prices include taxes and fees)
Buy tickets here, at the Northshire Bookstore, or by calling (802) 362-1956


Poster for Vox n Plux show Sunday in Berkeley, CA



New CD; Creviston-Fader Duo

Photo: Music for Saxophone and Electric Guitar by Whitney Ashe, Dorothy Chang, David Claman, Brian Coughlin, Michael Djupstrom, John Anthony Lennon, Eric Schwartz and Gregory Wanamaker. </p><br /><br /><br /><br /><br /><br /><br />
<p>Scott Burgess, Engineer</p><br /><br /><br /><br /><br /><br /><br />
<p>Made possible by a generous grant from the Aaron Copland Foundation.

This CD has been recorded by SCOTT BURGESS of WHITE PINE MUSIC,
Funded by a grant from the AARON COPLAND FOUNDATION.

Aasai Neelaavey (2007) David Claman (b. 1958)
Greetings From the Rock (2007) Whitney Ashe (b.1971)
Three Episodes (2007) Gregory Wanamaker (b. 1968)
Spiral Mirrors (2009) John Anthony Lennon (b.1950)
In Quiet Light (2009) Dorothy Chang (b.1970)
Thrash (2007) Eric Schwartz (b.1976)
Sejdefu Majka Budase (2007) Traditional, arr. Michael Djupstrom (b.1980)
Early Autumn Lightning (2009) Brian Coughlin (b. 1973)






Concert in Peterboro, NH

Playing Takemitsu’s “Toward the Sea” on this show. Beautiful.

Music in Every Sound: Reflections on Thoreau

Walden Pond Photographed by Robert Sargent Fay

Walden Pond Photographed by Robert Sargent Fay

Saturday, August 24, 7:30pm,  Bass Hall, Monadnock Center for History & Culture

A concert built around the words and influence of Henry David Thoreau. Charles Ives’ Concord Sonata played by pianist Randall Hodgkinson, with other Walden-inspired music including “Talking to Vaseduva,” Nathan Davis’ uniquely conceived percussion work for a natural xylophone of riverbed stones. The program begins with Robert Fay’s photo-essay on Thoreau in New England, with Thoreau readings by actors Pamela White and Warren Hammack, accompanied by a new soundscape commissioned for the occasion from composer Nicholas Stoia and a premiere by N.H. based composer Lawrence Siegel.



Duke Gardens



The Venue: Duke Gardens (at Duke)

Program: above

Last Tuesday: Lovely concert I had the pleasure of playing with Betsy Anderson, cello, Jonathan Bagg, viola, and Laura Gilbert, flute



At Guitar Center in Boston