Maryliz Smith | Listening Between the Worlds

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United States - California - SF

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Classical: Chamber Music Spoken Word: Storytelling Moods: Type: Live Recordings
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Listening Between the Worlds

by Maryliz Smith

Enter into the timeless nature of storytelling and music. exquisite original compositions for piano and cello inviting the listener into intimate spaces with stories that will touch your heart.
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
1. Improvisation On Clementine's Song
4:25 $0.99
2. Story #1 the Little Ones
3:39 $0.99
3. Canto Primo from Suite for Solo Cello No. 1, Op. 72
2:24 $0.99
4. Story #1 Continued
2:24 album only
5. The Dark Pathway
2:55 $0.99
6. Hayden's Lullabye
3:32 $0.99
7. Story #2 the Graceful One
1:29 $0.99
8. Josie's Song
5:57 $0.99
9. Story #3 the Beckoning
4:21 $0.99
10. Louange a L'eternite De Jesus (From "Quartet Pour La Fin Du Temps")
7:29 $0.99
11. Due Tramonte
3:41 $0.99
12. Story #4 to Uwandji
4:55 $0.99
13. Electroacoustic Recording from Central Zaire
2:09 $0.99
14. Story #4 Continued
2:02 $0.99
15. Spiegel Im Spiegel
8:55 $0.99
Downloads are available as MP3-320 files.


Album Notes
Her stories and poetry precisely chosen, Maryliz reiterates two central themes of flow and courage, and then reinforces them with her music. --Dan Langley, Ross, California

Maryliz Smith’s work has never been easily categorized, falling outside the traditional channels of performance practice. And yet her music stands on its own. She has written countless pieces for ensembles and solo instruments. She performs internationally as a concert organist and chamber musician. Most recently, she has written stories that are timeless about how we relate to our world, with life and death, with family and friends, in the workplace and at home. These are combined with music for a listening audience in more intimate, theatrical settings.

Maryliz often says she was born from MUSIC, and that music is her first language.

"COMPOSING asks for the craft to be honed to the point of it being a language with which one is completely comfortable. It is like learning a second language. You know when the language is part of your very nature when you begin to dream in all its nuances.

I adhere to this basic principle, as well as the one that calls for a quality of internal listening that knows when a seed of an idea has been planted. Once that seed is embodied, it is simply a matter of giving it the right climate of attention. One cannot manipulate that seed in someone else but a mentor can inquire into the most natural and finest way to draw out its innate quality of expression through composition."



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