Uploaded March 2026 | Updated September 2026, 2 weeks ago
Sonata for Piano in D (1943)
Frank Glazer, piano
Harol Shapero’s Sonata for Piano in D was completed in 1943, and was first performed by the composer at concerts of the League of Composers in New York City. It has since been played throughout Europe and Asia by several pianists, in arrangements for both piano and harpsichord. Frank Glazer has performed it often in his American and European concert tours.
Mr. Shapero has kindly provided the following analysis: “The Sonata is clearly in a style which has been often called ‘international neo-classic’, and takes its inspiration from the keyboard music of Scarlatti, K.P.E. Bach, and Haydn. Integrated with these traditional elements are familiar twentieth-century materials and some slight references to jazz. A formal analysis of the Sonata runs as follows:
Allegro precisco — sonata allegro in D
Poco adagio — five-part song form in G
Minuetto — three-part ABA Minuet-Scherzo in B-flat minor
Presto — seven-part rondo in D.” [CS-217]
Art by Emma Kohlmann
Sonata for Piano in D (1943)
Frank Glazer, piano
Harol Shapero’s Sonata for Piano in D was completed in 1943, and was first performed by the composer at concerts of the League of Composers in New York City. It has since been played throughout Europe and Asia by several pianists, in arrangements for both piano and harpsichord. Frank Glazer has performed it often in his American and European concert tours.
Mr. Shapero has kindly provided the following analysis: “The Sonata is clearly in a style which has been often called ‘international neo-classic’, and takes its inspiration from the keyboard music of Scarlatti, K.P.E. Bach, and Haydn. Integrated with these traditional elements are familiar twentieth-century materials and some slight references to jazz. A formal analysis of the Sonata runs as follows:
Allegro precisco — sonata allegro in D
Poco adagio — five-part song form in G
Minuetto — three-part ABA Minuet-Scherzo in B-flat minor
Presto — seven-part rondo in D.” [CS-217]
Art by Emma Kohlmann


![John La Montaine - Concerto for Piano and Orchestra
Concerto for Piano and Orchestra, Op. 9 (1958)
I. Moderately Fast — Decisive
II. Elegy: Andante [10:02]
III. Finale [18:21]
Karen Keys, piano
Oklahoma City Symphony Orchestra
Guy Fraser Harrison
John La Montaine, though known among his professional colleagues for a decade as a highly gifted pianist, came into national prominence as a composer only in 1958, when the Piano Concerto recorded here received its world premiere on November 25 of that year with Jorge Bolet as soloist and the National Symphony conducted by Howard Mitchell. The music had been commissioned by the National Symphony Orchestra under a grant from the Ford Foundation, and in 1959 the score was awarded the Pulitzer Prize for Music. This CRI recording was done under the terms of a 1962 award to Mr. La Montaine from the American Academy of Arts and Letters.
The reasons for the deep impression made by the Concerto on both lay listeners and on critics and professionals is not hard to discover; for in common with his senior colleague, Samuel Barber, La Montaine has displayed in his music a flair for intensely dramatic lyrical utterance in combination with virtuosic effectiveness in the best sense of the word that makes for surefire listener impact. For a contemporary composer to accomplish such a feat in a large-scale piece, sticking within a relatively traditional frame-work, and avoiding the slightest taint of the meretricious is a feat of no mean order, and one attainable only by a composer whose stylistic persuasions are backed by a solidity of craftsmanship that has become second nature. In this connection, it is sufficient to mention that Mr. La Montaine’s training, after studies in Chicago, was received from such august institutions as the Eastman School of Music and the Juilliard School, as well as from Nadia Boulanger.
Regarding the musical form and content of Mr. La Montaine’s Piano Concerto, the publisher has supplied a succinct and valid summation: The Concerto affirms both the lyric and virtuoso capabilities of the piano. The first movement is bold and decisive, classic in form, romantic in content. The second movement is slow and introspective, rising to an overwhelming climax. It is an elegy in memory of the composer’s sister, Isabel La Montaine. The Finale, in quadruple meter, is brilliant, rhythmic and march-like, interrupted twice by an extended songful passage of great intensity in triple meter. All the thematic and passage material of the final movement is derived from the opening of the first movement. [CRI SD189]
Art by Xenia Hausner John La Montaine - Concerto for Piano and Orchestra](https://i.ytimg.com/vi/m_XDC2b1624/mqdefault.jpg)

![Yoshihisa Taïra - Synchrony / Synchronie
Synchrony / Synchronie (1986)
Pierre-Yves Artaud, flute
Yoshikazu Iwamoto, shakuhachi
I originally wrote this work for two flutes. In this new version for flute and shakuhachi (a traditional Japanese flute) I tried to use two instruments belonging to two different cultures. A kind of dialogue was thus created between Japan and the West. Yoshihisa Taïra
This should not be seen as a mere chance encounter and the deep bonds of friendship that united us for almost forty years. More profoundly, this frail instrument [the flute], brought to life by human breath, was perhaps, unbeknownst to him, the best vehicle for his inner song, for that prayer that made him who he was. Pierre-Yves Artaud
Art by Tomioka Tessai Yoshihisa Taïra - Synchrony / Synchronie](https://i.ytimg.com/vi/n55zx9EhG_A/mqdefault.jpg)


![Ernst Toch - Concerto for Cello and Chamber Orchestra
Concerto for Cello and Chamber Orchestra, Op. 35 (1925)
I. Allegro assai moderato
II. Agitato [10:30]
III. Adagio [13:58]
IV. Allegro vivace [21:29]
Frédéric Mottier, cello
The Forum Group
Fred Barth
The Cello Concerto was written for a competition sponsored by Schott Publishing Company. Toch composed it quickly, between October and November 1924, in good time for the competition in 1925 (he’d already won the 1924 competition with his Divertimento for Violin and cello). Dedicated to the cellist Maurits Frank it was premiered by Emanuel Feuermann in July 1925 and so popular was it that the cellist performed it about sixty times in Germany in the next eight years, with conductors such as Klemperer in Berlin and Monteux in Amsterdam. Scored for a chamber orchestra it features the soloist in a primus inter pares role in a work that is a microcosm of contemporary compositional technique. Metres are constantly changing and there is a weight of complex rhythmic difficulty. Whilst the four movements are very broadly classical in design this is no neo-classical jeux d’esprit. Instead it’s a tough, densely argued work the opening movement of which sets the scene for much that is to follow; quixotic harmonies and instrumentation; a novel role for the protagonist, a perplexing air of indistinctness until a solo horn announces a new direction and the movement ends in the cello taking up a romanticized theme. The rather galumphing scherzo (Sorcerer’s Apprentice meets Stravinsky) has a second subject announced by the horn in bold fashion encouraging a scurrying cello until, abruptly, the music seems to end in mid-air. The cello by contrast spins a long cantilena line in the Adagio, laden with an expressive depth that signals that this is the central point of the work and its heart beat. In the finale, which again broadly conforms to the classical formula, a stern figure threatens to turn into a fugato before first ominous percussion and ostinato strings drive the argument still further, embracing a crookedly humorous passage and decisive conclusion. Jonathan Woolf
Art by Þorlákur Kristinsson Ernst Toch - Concerto for Cello and Chamber Orchestra](https://i.ytimg.com/vi/nlJhK9opyCg/mqdefault.jpg)

![Roland Dahinden - Theatre of the Mind
Theatre of the Mind (2023)
Gareth Davis - bass clarinet, field recordings, recording, mixing
Mikuláš Mrva - electric bass, sound diffusion, recording, mixing
Theatre of the Mind was commissioned by the Dutch Foundation Mousai, an organisation that uses contemporary music as a platform to explore and work with issues of mental health. It was written for bass clarinettist Gareth Davis.
Rolands composition takes elements of his mixed background performing in jazz and improvised combinations with Miles Davis and Anthony Braxton while at the same time working with John Cage, Alvin Lucier and other contemporary composers over the last 40 years.
The work uses different forms of notation, jazz and improvised influences and extended instrumental techniques as part of its musical language, thematically attempting to capture the layers and process of mental thought and how they interact with patches of partially remembered ideas. Struggles with mental health have become increasingly pronounced over the last few years.
In this work the idea of the sensation of being locked in to ones thought process are juxtaposed with memory and remembering and how memory recreates constantly, creating ever-changing backdrops which can in some cases lead to inspiration while in others can be the cause of confusion and struggle with surroundings. A recurring theme when speaking to those suffering from mental health difficulties was the sensation of the contrast between the heightened mental activity, with a sense of almost physical (or in the case of Parkinsons Disease, actual physical) decay of the rest of the body.
Theatre of the Mind is a soundscape influenced not by a vision of surroundings but rather as an impression of the internal process of the mind, the constant ongoing narrative between memories, ideas, possibilities, and tasks. [MFRC010]
Art by Francis Bacon Roland Dahinden - Theatre of the Mind](https://i.ytimg.com/vi/oIjZQABSY7U/mqdefault.jpg)
![Mika Martini & Edén Carrasco - Estrellas transcompactas
Estrellas transcompactas (2006)
Estrellas transcompactas es una improvisación libre con base en el tema Estrellas compactas del compositor electroacústico Federico Schumacher, obra publicada en el disco 50 años de música electroacústica en Chile (Fonmus/Laim/Pueblo Nuevo) y en el dvd [In]disciplina (Pueblo Nuevo). La performance fue realizada y grabada en vivo en el festival Compatible 2.1 / TransAcústico, en Santiago de Chile, noviembre de 2006.
Art by Frederic Edwin Church Mika Martini & Edén Carrasco - Estrellas transcompactas](https://i.ytimg.com/vi/ovPfxnyvaQA/mqdefault.jpg)