Beryllium | Beryllium Performs Chamber Music of Joe Gianono

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Beryllium Performs Chamber Music of Joe Gianono

by Beryllium

New tonal chamber music music for the 21ST Century Acoustic Classical fused with Jazz and Pop played by Piano, Violin, Viola, Cello, Bass and Guitar.
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
1. Piano Quartet No. 1 The Orion: Music On the Balcony (feat. Beryl Diamond Chacon, Nelson Padgett, Will Hakim, Hiro Matsuo)
3:01 $2.79
2. Piano Quartet No. 1 The Orion: High Low Straight (feat. Beryl Diamond Chacon, Nelson Padgett, Will Hakim, Hiro Matsuo)
3:28 $2.79
3. Piano Quartet No. 1 The Orion: Diamond Chaconne Fantasy (feat. Beryl Diamond Chacon, Nelson Padgett, Will Hakim, Hiro Matsuo)
8:32 $2.79
4. Small Craft Warnings (feat. Will Hakim Nelson Padgett)
2:59 $2.79
5. Luango
Beryl Diamond Chacon, Joe Gianono, Nelson Padgett, Gene Bertoncini, Will Hakim, Hiro Matsuo
3:05 $2.79
6. In the Silence of a Sound
Beryl Diamond Chacon, Gene Bertoncini, Joe Gianono
3:54 $2.79
7. Elegy and Pas De Deux (Aka: Zelda's Theme)
Nelson Padgett
3:38 $2.79
8. Trois Jimnopedies No. 1
Beryl Diamond Chacon, Gene Bertoncini
1:58 $2.79
9. Trois Jimnopedies No. 2
Beryl Diamond Chacon, Gene Bertoncini
1:56 $2.79
10. Trois Jimnopedies No. 3
Beryl Diamond Chacon, Gene Bertoncini
2:15 $2.79
11. Jazz Romance
Hiro Matsuo, Nelson Padgett
3:25 $2.79
12. Norse Tales: Lady of the Fjord
Beryl Diamond Chacon
1:54 $2.79
13. Norse Tales: A Troll in the Park
Beryl Diamond Chacon
2:03 $1.99
14. Norse Tales: Dottir
Beryl Diamond Chacon
4:07 $2.79
15. Carolina's Lullaby
Beryl Diamond Chacon, Joe Gianono
2:14 $2.79
Downloads are available as MP3-320 files.


Album Notes
Composer’s notes and liner notes

I. Music On The Balcony
II. High – Low Straight (The Bluff)
III. Diamond Chaccone Fantasy

Piano Quartet No.1 was written for Beryllium, originally called the Orion Music Ensemble. Composer Joe Gianono first heard the Quartet performing live on the balcony at The Metropolitan Museum of Art. The music making inspired him to compose this new Piano Quartet for the group.

1. Music On The Balcony

The idea to write "Music On The Balcony" came from looking across the balcony at the entrance of the Metropolitan Museum of Art (MET) and hearing music make it's journey though the many galleries and corridors. One might think of it as a tribute to the spirit of music taking flight through the various promenades of this magnificent edifice. Sometimes, specific galleries like the Chinese and Japanese exhibits are referenced directly but more frequently there is an attempt to portray a sense of appreciation and wonder from the grand experience as a whole.
The transparency of the textures and interplay of the solo instruments take us from place to place and should be emphasized as much as possible.
From time to time I have woven in small fragments of some of my favorite pieces of music.
While some are shamelessly obvious like the "cello theme" from Schumann's Opus 44 "Quintet", others are not, like fragments from Ravel's "Introduction and Allegro" and the theme from "ET" by John Williams.
Many of the more subtle musical references may reveal themselves like a musical puzzle. I suppose you might consider it a fun way of paying tribute to the great composers whose art has enriched all of humanity.

It's my hope to portray a respect for the grandeur of the history, the art and the music that is experienced from it all, .... and of course upon exiting the MET, a grand look back at the musicians playing music on the balcony.

2. High - Low Straight (“The Bluff”)

High - Low Straight is based on two ideas. The first is a tradition among many composers to honor the name of composer, J. S. Bach. The central pitches are “A, Bb, B, C” which represent the initials of Bach’s last name, otherwise known as a musical cryptogram. These four pitches are a contiguous sequential chromatic musical scale. One famous musical cryptogram is the Six Fugues for organ, Opus 60 by Robert Schumann, also based on BACH. Another is the DSCH piano Concerto by Dmitri Shostikovich based on the composer’s name. There are more cryptograms on the name of Bach than the name of any other composer.

The second idea is borrowed from the game of “Poker”. If you add a half step at each end of this chromatic scale, A, Bb, B, C, you end up with 2 contiguous five note chromatic scales, one, a half step higher than the other. The combined result is a 6 note chromatic scale consisting of the pitches G#, A, Bb, B, C and Db. The succession of six sequential chromatic pitches is also the pitches used in Bizet's “Habanera”melody from his opera, Carmen.

In the game of Five Card Stud Poker, the “Straight” is a succession of five cards in contiguous sequential numerical order. If two players of a poker game have a “Straight” in the same hand, the player with the highest numbered card, known as the High Straight, wins the game. Thus, both the high and low five note chromatic scales are the numerical equivalent of a High and Low Straight.

At times, the extreme ranges of the instrument and the dynamics represent the High / Low aspect as well.

The performance should reflect the calculating and secretive manner in which a poker player would guard his hand. Sometimes, a player would lead the other players to believe that he/ she has a winning hand, but actually doesn't. This is known as a “bluff”, which is suggested in the music at times.

The highest of the two 5 note chromatics scales ending with the pitch “Db” represents the “high straight” that wins the game. After a succession of descending scales to suggest the suspense at the culmination of the game, the movement ends with the pitch “Db”. In fact, the final two last notes are a high “Db” followed by a low 'Db” , as if the victor is paying tribute to all his competitors while still maintaining his winning status.

3. Diamond Chaccone Fantasy
The final movement maintains the same principles of construction and borrows themes and concepts from the past, taking these elements to a whole new level.
It is composed in the musical form of a “Chaccone” suggested by Beryl Diamond Chacon’s married name, “Chacone” and a cryptograph of her maiden name, ”Diamond”. A Chaccone is a musical form with a repeating bass line. A very famous example of the chaccone form is the “Crucifixus” from the Bm Mass by J.S. Bach.

The musical pitches of the cryptograph of Diamond are “D-B-A-F-A-G-D”, which outline the pitches of a “G9” chord. It’s a rather interesting cryptograph in that it works super imposed on itself in retrograde and it also works as a “Crab” canon, which is a retro grade canon. Other borrowed techniques come from Maurice Ravel’s “Introduction, Allegro”, Brahms’ Violin Concerto in D Major and the Mendelssohn Violin Concerto.

As in the first two movements, the third references several known pieces of music as well, among them, the 1st movement of Brahms’ Symphony No. 1, “Three Blind Mice”, the theme from “The Odd Couple”, Pink Floyd’s “Another Brick In The Wall” and “California Dreaming” by the Mamas and the Papas, among others.

It begins simply and quietly with a statement of the musical cryptograph, “D-B-A-F-A-G-D”, in the left hand bass of the piano. As the Chaccone continues, a retrograde of “D-B-A-F-A-G-D”, (“D-G-A-F-A-B-D”), enters in the right hand of the piano with a “Crab” canon in the cello part. An original romantic melancholy theme is introduced to suggest a reference to all music that has come before. After several statements, a traditional piano cadenza is followed by an extended violin cadenza. With a series of rapid arpeggios and scales the violin leads us to the ending with a display of utmost virtuosity by all the players.

SMALL CRAFT WARNINGS was written for Viola & Piano as incidental music to the play of the same name by Tennessee Williams, however the first recording was for Violin and Piano.

The play Small Craft Warnings might be thought of as an analogy between a maritime term and the sometimes perilous or fragile nature of people's lives, especially the 9 lives in the play. Unfortunately the players are people, not cats. Once they hit the rocks there aren't many second chances.

The two-fold meaning of the title is manifested in musical terms throughout the piece starting with the choice of instruments, viola and piano.

The main 4 note theme played by the piano at the beginning, represents the 4 syllables of the title. Following the statement of the main theme are 2 variations, which add up to 9 notes representing the 9 characters of the play. The second theme played by the viola with its slow, 2 note up and then 2 notes down, melody happens later in the piece and suggests a certain sense of pathos.
The Viola melody with its fragile character floats endlessly over the Piano accompaniment. The occasional stops and starts of the music suggest caution.
Most of the maritime imagery is incorporated into the piano accompaniment. One can sense the deceptiveness of seemingly calm waters at every turn.

The recording was done in preparation for WQXR radio broadcast and was supposed to be recorded by violist, Katherine Greene, (The Mr. and Mrs. William J. McDonough Chair of the New York Philharmonic Orchestra, but due to the fact that she broke her wrist 24 hours prior to the recording session, changes had to be made quickly. The schedule for the broadcast was suddenly moved up so I had about 48 hours to record the piece. An available violinist was recommended to me, at the last minute, so I recorded it on violin instead of the viola for the broadcast.

The version recorded on this cd, the intended version, for Viola and Piano is entirely different. It exploits the rich, dark, intense tone of the Viola, especially in it’s upper register, which is why I chose the Viola.

Finer musicians than Will Hakim (Violist) and Nelson Padgett (Pianist) you will not find anywhere.
There are no words that I can say that will describe how beautifully they interpreted SMALL CRAFT WARNINGS. All I can do is suggest that you listen to it with your heart.
I will always cherish their artistry on this recording.
PS... Thank you Will and Nelson, forever.

LUANGO (Ensemble)

The title, Luango, is a combination of the word Tango and the name Luellen, as in violinist, Luellen Abdoo, who previously recorded a different arrangement of it on her cd of tangos, titled LUANGO. It was originally written for One solo Violin, 3 Pianos, 3 Bandoneons and 3 Guitars (2 regular classical guitars and a Bass). This new version inspired by Beryl Diamond and Beryllium, which eliminates the 3 Bandoneons, includes the Viola and Cello of the Beryllium ensemble. Most often, the Violin is featured as the solo voice but at times it works in tandem with the Viola and Cello as counterpoint to the 3 Pianos, which play mostly unison or octaves. It’s worth noting that, the way the piano parts are written for Luango is rather unusual for piano parts. Unlike almost all of the musical literature written for pianos, except for the baroque style of counterpoint to some extent, they rarely play full chords, which is the norm for most piano music. Normally, a pianist plays with 10 fingers on the piano keyboard, so it is particularly suited to play many notes simultaneously, therefore creating chords. In Luango the pianos play single lines in unison or octaves to create an almost percussive effect to reinforce the angular and style of the music. In fact, all 3 pianos combined only play about 10 chords in the entire piece.

Although it is a traditional medium tempo spirited tango it has a hint of a modern feel,
Luango has the flavor of the volatile French dance form known as “APACHE”, named after French street gangs, common in the early 1900’s. One of the signature characteristics of the Apache is that it was not particularly friendly to women. Women were basically dragged and hurled along the floor rather violently. This feeling is intentionally, strongly represented in the music.

IN THE SILENCE OF A SOUND (Violin & Classical Guitar)

“In The Silence Of A Sound” was composed for a “Composer’s Voice” concert in New York City.
It begins with the violin playing a repeating arpeggiated pattern to suggest a continuum of sound in which silence can exist. It uses several techniques and devices such as “12 tone composition ”, canon and the use of “harmonics”, etc. Guitar string noise is incorporated into the musical fabric to philosophically counterpoint the concept of silence versus noise.

At times each instrument plays a single line melody in a similar manner to suggest silence or the absence of silence and play in the extreme ranges of the instruments to enhance the intensity of this idea. At the end they play a single note together to suggest silence in a state of unity.
“In The Silence Of A Sound” represents that a sound can suggest silence as opposed to the state of silence itself or actually being silent.

You might ask why I chose to write a piece on this illusive subject matter...
But, I, too, am clueless. However, I now find myself asking “What exactly is silence” or “What is it not” and “What is nothing” and ... “How is infinity possible”.

ELEGY and PADS DE DEUX aka: Zelda’s Theme (2 Pianos)

Elegy and Pas de deux was originally written as incidental music to the play, Clothes For A Summer Hotel, by Tennessee Williams.
A lamenting, reflective piece that remembers the fateful life of Zelda (Sayre) Fitzgerald, wife of the famous author, F. Scott Fitzgerald. Known as “Scott and Zelda” they have become a fabled couple, legends of a bygone era and of the triumph and tragedy that afflicted the decade with which they are most associated, the 1920s. Towards the end of her fated life Zelda is a resident of the Highland Mental Institution. In this particular scene of the play she reflects her life as a writer and wife, then, starts to dance, as she like to imagine herself as a ballerina. She died tragically by fire trapped in the burning Highland Mental Institution.

No. 1
No. 2
No. 3

Trois Jimnopedies for Flute (optional Violin)
was written for and is dedicated to my friend Jim O'Brien with whom I had the pleasure of spending the better part of a week at a flute and guitar masterclass. The event was run by flute virtouso and composer, Gary Shocker and featured Jason Vieaux, a true virtouso of the guitar, as well.
It was held at the beautiful Holy Cross Monastery in West Park New York, overlooking the Hudson River.

The idea to write this collection of three short pieces stemmed from my long time friendship with Jim that began when we played together in a band in high school, named "Excusion". The band primarily modeled itself after the group, "Blood, Sweat and Tears" who recorded one of the Trois Gymnopedies by Eric Satie. I'm happy to say that most of us still keep in touch and get together from time to time. It's worth mentioning that my very first professional writing gig was for "Blood, Sweat and Tears" with the Denver Symphony Orchestra.

Jim and I both, play flute and guitar, so the instrumentation seemed like a perfect idea. Jim stuck primarily with the flute (his new Powell) and I, the guitar for the entire week.
The opportunity to write a homage to my pal Jim, Eric Satie, "Blood, Sweat and Tears" and the Flute and the Guitar all at the same time seemed like a perfect and irresistible endeavor.

Given the fact that the monastery had several rules that everyone had to abide by, there was much time for meditation, contemplation and things of that nature. Needless to say, being awakened by bells early in the morning and observing silence before 9 AM and after 9 PM left plenty of time for composing music, quiet in my room overlooking the Hudson River.

Jimnopedies No. 1 was written late in the evening on Tuesday June 22nd, Jimnopedies No. 2 was written early in the morning on June 23rd and Jimnopedies No. 3 was written early in the morning on June 24th, 2010.

I never imagined that it could sound so beautiful on the Violin as played by Beryl Diamond and guitarist, Gene Bertoncini.

JAZZ ROMANCE (Piano & Cello)

Jazz Romance was written for jazz violin and piano as a “straight ahead Jazz ballad” and was called “I Guess It’s Romance” however, Beryl Diamond suggested it should be played by the Cello and should be called “Jazz Romance”. She was right and we are all better for it

Something quite interesting happened when these, two, superb musicians who don’t play jazz, played jazz. Nelson Padgett (Piano) and Hiro Matsuo (Cello) completely transformed this seemingly straight ahead jazz ballad into something I never thought possible. They have magically succeeded in making it into this wonderful lyrical piece in a jazz style as opposed to a “Straight ahead jazz balled”. Most uncommon, by any standard and I might add, a “not so small feat” attempted by many without success. However, due to their incredible musicianship, weaving in and out of the tempo, playing with the phrasing and especially by shaping the dynamics, they did exactly that. It’s worth noting that they played exactly what was written on the page of music, however, the same notes played by to jazz musicians, would sound like a completely different piece of music. These guys give a whole to meaning to “The Art of Performance”. Well done, guys and thank you for giving me my very own “Song Without Words”.

NORSE TALES (Solo Violin)
I- Lady Of The Fjord
II- A Troll In The Park
III- Dottir

I never meant Norse Tales, in its entirety, to be recorded. But, due to a force of nature, namely, Beryl Diamond, the opposite occurred.

I was rehearsing the music for our upcoming cd one day with Beryl in her living room. After going through a number of pieces and some good red wine, I said “let’s try A Troll In The Park”. I had given Beryl the whole set of three pieces, but I never wanted to record the first and third of the group because I was quite unsatisfied with them and we already had plenty of music for the cd. She said, “we are doing them all... and that’s that”. I responded, “No, we are not.” Wow, then, as if she was mother superior, like a true Valkryie, with a bow on one hand and Violin in the other, she pointed her finger at me and shouted, “Shush, sit and listen”. The impression I had after listening to her play through them was like hearing Beethoven’s 5th Symphony, Mendelssohn’s Midsummer’s Night Dream or Stravinsky’s The Rite of Spring for the first time.
I sat there sipping my wine, looked up at her and wondered what had just happened and never mentioned the subject again.

For the first piece, Lady Of The Fjord, imagine looking across a magnificent fjord and beholding a beautiful woman spirit. There are powerful energies everywhere.

For the doubters of a Nordic belief system in Trolls, there’s this:

Did you know that “Trolls” live everywhere in isolated rocks, caves and mountains and not only in Norse mythology, as commonly thought. At times, a young troll will come out and cause havoc for us humans for amusement. A troll was cited wildly driving a horse and carriage in Manhattan's Central Park. A Troll In The Park was written to draw attention to this little known fact.
Dottir, a loving father adores his beautiful daughter while imagining her future. He expresses a powerful sentiment of his father’s love.

CAROLINA'S LULLABY (Violin & Guitar)

CAROLINA'S LULLABY was recorded as a fun ditty bonus track.
Named for and dedicated to Carolina Meurkens, daughter of my friend, jazz harmonica virtuoso, Hendrik Meurkens and his wife Minna.
Several years ago I decided to wake up every morning and as an exercise, compose at least 8 bars of music before doing anything else.

One morning I woke up and wrote a simple 16 bar tune that sounded like a lullaby. Carolina had just been born and I decided to call it Carolina’s Lullaby. I wanted to send it to Hendrik so I did a little arrangement of the16 bars for Harp, Flute, Clarinet and a String Quartet, which is the same instrumentation of one of my favorite works, “Introduction and Allegro” by Maurice Ravel.
FYI... Thank you, Maurice Ravel for this masterpiece.

Hendrik like it a lot and asked me to do an arrangement for his Brazilian jazz quartet. From time to time, I would go downtown to hear him play it at various jazz clubs with some of the finest Brazilian jazz musicians on this planet or any other.

About a year later, Hendrik called and said he was going to Berlin to play with the Berlin Radio Orchestra Big Band and would like me to do a large scale, extended jazz composition version of Carolina’s Lullaby for a 17 piece big band, featuring the Harmonica. Well, I got that done and away he went.
As an afterthought, when we finished recording all the material for this cd, I suggested to Beryl that it might be fun to record a bonus track with just her and me, impromptu as our own personal touch on the record. That is exactly what we did. So, during one of the mixing sessions I pulled out a lead sheet of the music, I said ”let’s do it”, we set up 2 mics and without any rehearsal, talked down the form played it once or twice.
I hope you enjoyed the cd.

On a final personal note, I would like to thank Beryl Diamond, the entire Beryllium ensemble and Gene Bertoncini for their consummate artistry in the recording of my music on this cd.
Thank you... Joe Gianono

Joe Gianono

Joe Gianono has composed music in all musical genres. Mr. Gianono is the resident composer of the White Horse Theater Company where he has composed incidental music for numerous productions. Several of these works have been aired on "Exploring Music," hosted by Bill McGlaughlin, on WQXR (105.9 FM).

Mr. Gianono’s ballet, “Sayadio and the Magic Cup”, based on a Native American Indian legend, is scheduled to be performed by the Yuka Kawazu Ballet in 2015. He is the composer of the musical adaptation of “The Hunchback Of Notre Dame”, performed at the York Theater in NYC, with lyrics by Hal Hackady and libretto by Tony Scully and several other theater works. He recently completed his “Elegy Dialogues for Solo Cello and String Orchestra”.

As an arranger/ orchestrator for over thirty years, Mr. Gianono has worked with many of the world’s finest orchestras and artists. These include the Metropolitan Opera Orchestra, Paul Taylor Dance, Company, Jessye Norman, Kathleen Battle, Bryn Terfel, Leonard Bernstein, and James Levine. He has made arrangements for Blood, Sweat & Tears, Chita Rivera, Michel Camilo, Gene Bertoncini, Bucky Pizzarelli, PM Dawn, Philip Bailey, as well as for over thirty Broadway & Regional musicals.

Joe Gianono graduated from The Aaron Copland School of Music at Queens College. He owes a great debt to Carlos Surinch, Sol Berkowitz, George Pearl and Jonathan Tunick, whom he had the privilege of studying with. Mr. Gianono has lectured and taught orchestration at various institutions including Manhattan School of Music and The Aaron Copland School of Music. He is a member if the Manhattan Producers Alliance as well as ASCAP.

Commercially Mr. Gianono’s music can be heard as the episode theme music for “The Soup” (E! Entertainment), on “Chelsea Lately” (E!), “Chip 'n Dale's Rescue Rangers”(Disney) and “Fatal Honeymoons” (E!), etc. and on the feature film, “Somebody Marry Me”.

Much of Mr. Gianono’s efforts are spent writing, producing and recording music for his record label available on Cdbaby, iTunes and other major digital music distributors. He is published by Subito Music, Rebekah M. Music (ACM Records), Joe Gianono Music Publishing (ASCAP) and Joe Gianono Music (BMI).
For more information go to

Beryllium founder Beryl Diamond Chacon is a concert violinist and a graduate of The Juilliard School. Beryl studied Chamber Music with Earl
Carlyss of The Juilliard Quartet and with the late legendary Josef Gingold. Early studies began with Eugene Phillips and continued at Juilliard with Sally Thomas. Beryl has played under the baton of Zubin Mehta, Sir George Solti and Bernard Haitink. She performed as concertmistress in Avery Fisher Hall with her small
chamber orchestra with James Earl Jones narrating, as well as perfoming at Lincoln Center's MidSummers Night Series. Appearing as concertmistress and violin
soloist, Ms Diamond Chacon conducted members of the London Symphony and the Royal Philharmonic playing a private performance for the Queen and other members of the Royal family. On Broadway, she began her career with The Royal Shakespeare Company onstage,nightly performing the Mendelsohn Violin Concerto. Ms Diamond Chacon created, programmed and performed at The Met Museums' Music on The Balcony as well as creating and producing The Guggenheim WorldBeat Jazz Series at the Guggenheim Museum. She has recorded for numerous artists on the Columbia, BMG and Warner labels. These include Tony Bennett, Carly Simon, Katy Perry, Bette Midler and Billy Joel. On her own label, Beryllium Records, she has performed and produced ìThe Romantic Piano Trioî, ìOME: Piano Quartet Selectionsî, ìMusic On The Balcony and now "Beryllium Plays The Chamber Music of Joe Gianono.
All are available on under Orion Music.

William Hakim, Violist, has performed extensively throughout the United States and abroad. Praised for his "warmth of tone and musicality" (Leipziger Volkszeitung), he studied with John Graham at the Eastman School of Music. Mr Hakim attained his Masters from The Juilliard School as a student of Samuel Rhodes. As a doctoral candidate at the Graduate Center of CUNY he studyied with Paul Neubauer. Mr. Hakim has recorded for Albany Records, Decca, and Nonesuch. He has performed with and recorded for artists Renee Fleming, Chris Botti and Josh Groban. Mr. Hakim served on the faculty at Brevard Music Center and Point Counterpoint Chamber
Music Festival. He performs with the Chamber Orchestra of Philadelphia as well as being a former member of the Hyperion String Quartet. Mr Hakim is on the faculty of Seton Hall University and Saint Rose College.

Hiro Matsuo, Cellist, has established himself as a rising talent of his generation. Praised by The New York Times as ìstrikingî, his performance career has taken him worldwide. He has appeared at Alice Tully Hall, Avery Fisher Hall, Carnegie Hall, Jordan Hall, Kimmel Center, Royal Albert Hall, and Seoul Arts Center. An avid chamber musician, Hiro has collaborated with distinguished artists such as Joshua Bell, Roberto DÌaz, Christoph Eschenbach, Ida Kavafian, Yo-Yo Ma, Anne-Marie
McDermott, and Joseph Silverstein, among others. He has made appearances at the music festivals of Kirishima, Lake George, Music@Menlo and Ravinia. He is a member of the Metropolis Ensemble and SalomÈ Chamber Orchestra, and is a regular guest of the Sejong Soloists and the Solisti Ensemble. Mr. Matsuo earned his Bachelorís degree from the Curtis Institute of Music and a Masterís degree from The Juilliard School. He has worked extensively with Gilda Barston, Carter Brey, Timothy Eddy, Hans J¯rgen Jensen, David Soyer, and Peter Wiley.

Nelson Padgett began piano studies at age six. He attended the North Carolina School of the Arts, The Peabody Conservatory of Music, and the Banff Centre School of Fine Arts. A former protÈgÈ of Leon Fleisher, he has also studied with Lee Luvisi, Gyorgy Sebok and Menachem Pressler. Mr. Padgett has collaborated with Elmar Oliveira,n Pinchas Zuckerman, Pamela Frank, Ilya Kaler and Vadim Repin. He performs as an official pianist for the prestigious International Violin Competition of Indianapolis. Mr Padgett has performed worldwide with the Philip Glass Ensemble since 1988, most recently in France, Belgium, the Netherlands, Sweden, Scotland, Hungary, and Los Angeles. Other group collaborations have included Steve Reich and Musicians, Orpheus Chamber Orchestra, and Newband, with whom he has performed and recorded the microtonal works of Harry Partch. Classically Mr Padgett has recorded for the Harmonia Mundi, EMI Classics, and Orange Mountain labels.

Gene Bertoncini began playing guitar at age seven and by age sixteen was appearing on television. He graduated attended the University of Notre Dame, where he obtained
a degree in architecture. After college Bertoncini moved to Chicago where he became immersed in the jazz scene, working with Carmen McRae. He returned to New York
and played with vibraphonist Mike Mainieri and played in one of Buddy Rich's ensembles. Bertoncini's career has included playing with Benny Goodman, Wayne
Shorter, Hubert Laws, Paul Desmond, Tony Bennett, Lena Horne, Nancy Wilson, Vic Damone, and Eydie Gorme among others. Bertoncini had a long-running duo with
bassist Michael Moore. He was part of the staff orchestras on shows featuring Merv Griffin, Jack Paar and The Tonight Show Starring Johnny Carson. Mr Bertoncini has
been on the faculties of Eastman School of Music, the New England Conservatory, New York University and the Banff School of Fine Arts in Alberta, Canada. He currently is on the faculty of William Paterson University.

Recorded at Lofish Studios NYC June 2014
Chris Gilroy & Joe Gianono, Recording Engineers
Mixed and Mastered at Zampol by Oscar Zambrano.
Beryllium co-produced by Beryl Diamond Chacon
and Joe Gianono
Beryl: Special thanks to SD and AMD for teaching
me to always believe in my dreams.



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