Audio is the Premiere performance in Tokyo by Miolina: Mioi Takeda & Lynn Bechtold
(Video is a performance recording from The Muse’s Voice concert, October 31, 2018 at Barnard College, NYC.)
Always Almost
An expression of the profound realization that some of life’s deepest yearnings may remain unfulfilled, seemingly just out of reach – just ‘always almost.’ Yet from this sadness music arose. – RW
This video features a beautiful performance by Max Lifchitz in his “Women of Note” concert at the National Opera Center in New York City, funded in part by a New York Women Composers Seed Money Grant.
And here’s a video of pianist Amy Wurtz‘ mesmerizing performance as part of her 2025 “Women’s History Month” daily YouTube presentations of music by women composers.
Resonances
Program note: Resonances of sounds, resonances of emotions.
(Audio is a home studio recording by violinist, Eva Ingolf)
World News – carnival spin
Program note: Commenting on the media carnival spin overlaid onto the news. –RW
2001 Concert performance audio features: Theresa Salomon & Vita Wallace, vlns; Liuh-Wen Ting, vla; Ariane Lallemand, vc; Joseph Kubera, pno.
Running Late
Chamber version of the first of a set of three sequential nocturnes for orchestra entitled “Disturbances.“
(Audio is the 2000 premiere at Turtle Bay Music School, NYC)
If Only Knowing – Solo Piano
In composer, Charlemagne Palestine’s loft in an old spice warehouse where the pungent smells of oregano and thyme drift through the air, Rain Worthington sits at a Bösendorfer grand piano. A reel-to-reel tape recorder situated on the floor under the piano is turned on and Rain begins the first notes of a collection of dreamily evocative solo piano pieces.
This archival concert performance is contemplative and sensuous, mesmerizing and haunting – romanticism on the edge of minimalism.
Rain Worthington is a true “native” of the world of music, coming from it only with her desire to express the music she feels and knows and needs to share. The soothing quality of her work helps make the disturbingly basic emotionalism of it accessible to the rest of us.
Her music is evocative of other so-called “primitives,” such as Satie. Her style also references the serial repetitiveness of minimalism. And the emotionalism of her music often causes comparisons with the Romantic composers.
But Rain’s music is hers alone—more sensuous, more romantic, more mesmerizing—and ultimately unlike anyone else’s, her artistry transporting the listener somewhere else, no longer anywhere material, dissolving what things there are into musical imagery that transcends the dailiness of this life and world.
– Michael Lally, Poet & Actor
