Rain Worthington | North Moore Street Loft-2nd Concert

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Classical: Piano solo Classical: Impressionism Moods: Type: Live Recordings
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North Moore Street Loft-2nd Concert

by Rain Worthington

This archival solo piano concert performance is a soulful journey through a soundscape that is both minimal and lush, meditative and suspenseful – romanticism on the edge of minimalism.
Genre: Classical: Piano solo
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  Song Share Time Download
1. Part 1
19:21 $1.99
2. Part 2
18:11 $1.99
3. Part 3
13:45 $1.99
Downloads are available as MP3-320 files.


Album Notes
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 sat down at a Bösendorfer grand piano that stood alone in the middle of room. The audience of fellow downtown artists – composers, painters, writers, sculptors – sat closely together in the dark on old wooden plank boards around the grand piano. A large reel-to-reel tape recorder situated on the floor directly under the piano was turned on and Rain began the first notes of a haunting solo performance. This archival solo piano concert recording leads the listener on a soulful journey through a soundscape that is both minimal and lush, meditative and suspenseful.

Rain’s earliest memory of playing piano was when she was about three years old and living with her grandparents in West Virginia. Waking up before anyone in the house, she would tiptoe out to the old upright piano in the living room and begin to play softly on the keys. In her mid-twenties, Rain rediscovered her love of the piano. With no formal musical training, she began improvising on a turn-of-the-century Briggs upright bought at an antique store. Her early solo piano works were composed by exploring and improvising directly on the piano. The process was intuitive – introducing a phrase, repeating it until it "takes hold" as a constant rhythm, gradually replacing the memory of the previous one, while generating an anticipation for change through the intrinsic tension of insistent repetition, and then breaking into a new phrase or variation. She performed these solo piano works from memory in concerts at pioneering music venues in Soho and Tribeca that were part of the New York City downtown music scene of the late 1970’s.

Rain now composes for full orchestra and chamber ensembles, as well as solo instruments. Her compositions for orchestra have been recorded for PARMA Recordings and are available on Navona Records and CDBaby.



to write a review

Bob Krasner

Rain Worthington's solo concert is a meditative and contemplative piano composition that is full of energy, reminiscent of LaMonte Young's "Well Tuned Piano" and Terry Riley's quieter piano excursions. If you are looking for something to put on the shelf next to George Winston, this is not for you.
Rain's music has a hypnotic and engaging intensity. Hearing this live cd makes me wish that I had been there.

Lauren Jones

North Moore St Loft
Haunting and soulful yet breathing fire!...LOVE IT!!! A prelude to the future.....and a blast from the past (the artist is my sister, I'm proud to say!)

Frnk R. Rinaldi

If Only Knowing
Rain Worthinton's achievement in If Only Knowing is substantial and lovely: Lean but broad and profound; hypnotic yet suspenseful and stimulating. Her undeniable, insistent, rhythmic themes are adorned with beautiful, unexpected splashes of musical color. I felt closer to truth while and after listening to Rain's remarkable CD.

Donald Fleck

North Moore Street Loft - Second Concert
I liked this piece. I've been brought up on 18th and 19th century classics, and been bored to tears by some attempts at modern classical music. I guess it's hard to be creative when the medium was so mastered hundreds of years ago. Rain has found a way. Perhaps the way is always there when the composer has a sure sense of self.... then the result will surely be fresh. I'm glad Rain has the tools to put herself into music. We all have personality, we're all interested, but we don't all have the tools for this kind of self expression. Then, though, self-expression really isn't enough. It's boring unless the composer also can relate it to something universal, something everyone can relate to. This I can't parse, but I feel that Rain has done this: her music is personal. And her music appeals. I'm grateful for this piece. Those who really listen will agree.

Michael Lally

Poet, Actor
When I recently got this recording in the mail from CD Baby, it took only a few bars of “Part 1” to take me back to the origins of my own creative urges and the kinds of striving to express myself that I first felt in my youth and experienced in my early work and the work of others attempting their own creative breakthroughs.

The music was unlike anything else. It was evocative of other so-called “primitives” like some critics had characterized Satie and his “furniture music” as he called it, and it had the serial, minimalist, repetitive effect of some other “downtown” composers of that time. But it was her own—more sensuous, more romantic, more mesmerizing—and ultimately unlike anyone else’s music.

Within minutes I was mesmerized by Rain Worthington’s artistry, and before “Part 1” was over, I was somewhere else, no longer here, no longer anywhere material. It’s as if her music dissolves what things there are, including my material self, into musical imagery that transcends the dailiness of this life and world.

Ah, you have to hear it yourself. But don’t just listen to a small excerpt, surrender to the entire piece, and you’ll see.