A Recital Of Original Compositions By Matthew Baier Saturday October 15. 2011 8 PM Grace Episcopal Church 130 First Avenue and Franklin Street Nyack, N.Y. 10960 Program Three Short Pieces for Guitar (For Ralph Barile) 2006 1. Anima 2. Waltz 3. Allegro - Lento - Allegro Matthew Baier – Guitar Three Bagatelles For Oboe & Guitar (For Conor Grocki) 2009 1. Allegretto 2. Andante 3. Allegro Jennifer Graham – Oboe & Matthew Baier - Guitar Three Songs On Sonnets By William Shakespeare No. 2 2000-2001 1. #138 When My Love Swears That She Is Made Of Truth 2. #73 That Time Of Year Thou May’st In Me Behold 3. #128 How Oft When Thou, My Music, Music Play’st Marigene Kettler- Soprano, Jacqui Drechsler – Flute, Chris Cardona – Violin & Matthew Baier – Guitar Intermission Transmigration # 2* 2011 By Matthew Baier with Larry Alexander Songs On Hebrew Texts* 2011 1. Pastorale 1 2. Jacobs Ladder (Genesis 28:10-15) 3. Pastorale 2 4. Hear O Israel (Deuteronomy 6:4-9) 5. Halleluyah (Psalm 150) 6. Arise, Shine For Your Light Has Dawned (Isaiah 60:1-3) 7. Who Is A God Like You (Micah 7:18-20) 8. Like A Hind Crying For Water (Psalm 42) 9. I Turn My Eyes To The Mountains (Psalm 121) 10. May The Lord Be Gracious (Psalm 67) Sopranos - Marigene Kettler & Melissa Alexander, Tenor - Roger Ohlsen, Baritone - Russell Ashley, Flute - Jacqui Drechsler, Oboe - Jennifer Graham, Violin - Chris Cardona, Percussion - Ben Carriel, Guitar, Shofar & Percussion - Matthew Baier Asterisks Indicate Debut of Composition Program Notes By The Composer Three Short Pieces for Guitar (2006) This work was written for and with thanks to Ralph Barile for his years of friendship and encouragement in my musical endeavors. The first movement was completed in 1997. The second movement was begun then and finished with the third between 2005 and 2006. The melodic and harmonic content is based on his name as spelled out alphabetically and incorporated into a twelve-tone grid. The atonal or twelve-tone method used here as pioneered by Arnold Schoenberg (1874 –1951) allows for the arrangement of the 12 tones of the chromatic scale in a fixed order or series. These tones are set within a system, which presents forty-eight variants of the original row, and thereby provides a means for motivic construction and unification within the musical work. It differs from my earlier forays into this musical language in that I have used up to four rows simultaneously creating the harmonic accompaniment from the neighboring rows. The construction of these pieces also makes use of a combination of notes, phrases and rhythms based on Fibonacci Numbers e.g. 1,2,3,5,8, etc. (the last two numbers gives you the next number in the sequence) which is closely related to the Golden Mean. The Golden Mean also known as the Golden Ratio and the Divine Proportion is a concept based on the mathematic expression of Phi, which can be used to describe design proportions, which exist in nature, architecture, sculpture and music. Three Bagatelles (2009) Defined generally, the bagatelle is a short and light instrumental piece. It implies no specific form. The title appears first in 1717 in a keyboard work by Francois Couperin and throughout the 18th century the title is commonly found in published collections of dances. The bagatelle takes on a higher artistic place in musical repertoire when taken up by Beethoven (Op. 33, 119 and 126) who, while primarily composing them for extra income and initially considering them “trifles”, still manages to infuse them with his mastery of piano and compositional expertise. Beethoven’s influence reaches far into the following century as bagatelles continue to be written and published in sets for solo piano, varied instruments or ensembles by such diverse composers as Smentena, Dvorak, Saint-Saens, Sibelius, Webern and Bartok. These Three Bagatelles were expressly written for my nephew Conor Grocki (oboe). Number one is composed on an original theme. Bagatelles number two and three, are based on themes of Bagatelles by Beethoven (WoO56 & Op.119 no.10 respectively). I have made use of the Octatonic scale in their treatment. Three Songs On Sonnets By William Shakespeare No.2 (2001) These poems are structured in quatrain and couplet form. Rhetorically, the quatrain prepares for the conclusion in the couplet. I’ve treated the lines freely allowing the words and imagery to suggest the musical phrasing. Special attention was given to establishing the mood of the poems through the use of particular scales or modes. The images of the poems are further reflected by a technique called word painting in which the word meanings are depicted by corresponding musical events. Of the three sets of sonnets I’ve written, No. 2 has a special place in the hearts of the performers and returing audience members. We are delighted to present them again. All three sets are available for sale tonight on CD with a new packaging including the texts and program note. Transmigration No. 2 (2011) Matthew Baier with Larry Alexander Transmigrate: to cause to go from one state of existence or place to another. This electronic work is a musical collage created from selected excerpts of the open microphone cassette recording of my November 2000 recital at St. Paul’s Festival of the Arts in South Nyack. Its themes feature that night’s audience, performers and host’s incidentals and asides in an attempt to engage the audience tonight in a way that may be somewhat unexpected. · “All in all, the creative act is not performed by the artist alone... the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act”. Marcel Duchamp: (1887-1968) French Surrealist. The tape recording has been sampled and manipulated with the aide of computer software but common compositional techniques in terms of form, balance and structure have been applied. As its title suggets, it is recycled. The sounds, resting spaces and vocal catch phrase may point in any number of directions in terms of meaning, which is left for you to interpret. In assessing this music aesthetically (as well as many modern or contemporary art forms) the following basic questions or guidelines are to be considered: Is it organized, fun, climactic; does it have a sense of space and phrase and finally does it convey meaning? · The auditortium lights may be dimmed during this performance. Please remain seated until the lights come back on. Songs On Hebrew Texts (2011) In this work I have attempted to represent an abbreviated historical time line of Judaism derived from biblical texts in order to reflect along with its message some of its widespread musical influences. The texts include selected passages in roughly chronological order from the Torah (The Five Books Of Moses), the Nev’im (The Prophets) and the Kethuvim (The Writings). The music seeks to capture some aspect of the influences of time and place in this B.C.E record. Following this era the music goes on to suggest with some of the later texts the possible musical renderings from the first millennia C.E. through contemporary times taking the following into consideration: There are three streams or musical traditions from which Jewish music is generally categorized as being derivative of: 1.The Eastern tradition or Mizrahi, with influences from Persia, the middle east and including parts of India. 2. Sephardic, from Arab, Turkish, African and Mediterranean countries including Greece and Spain. 3. Ashkenazi, from Eastern and Central Europe. It is often difficult to define geographic location in these musics as their traditions overlap, as a direct result of the inter-cultural synthesis. While examples of ancient music are practically non-existent, much can be gleaned from written descriptions of performance and some scant musical fragments. The long established practices of the Greek and Persian modal systems of music and their influence on subsequent methods aid much as research in the field continues to explore and reconstruct likely models. I have used features of some of these modes for the melodic material in these pieces. Historically, harmony is not necessarily emphasized in the western sense so I have tried to keep it fairly simple using it to highlight dramatic meaning in the text. More attention has been directed toward establishing melodic interest, ornamentation and rhythm. These pieces reflect the continuation of a pattern that my programs have had for the last several years, which have included some vocal and instrumental music based on religious texts or ideas. This has been unbeknownst to me until quite recently a work in progress, which should culminate in the Fall 2012 concert when some of these works along with new ones will be presented featuring selected texts of the five great religions of the world; Islam (Sufi), Christianity, Judaism, Buddhism and Hindu. Please indicate as you sign in the guest book tonight if you would like to be apprised of info about next years concert. Sonnet 138 (1599) When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutored youth, Unlearned in the world’s false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue: On both sides thus is simple truth suppressed. But wherefore says she not she is unjust? And wherefore say not that I am old? Oh, love’s best habit is in seeming trust, And age in love loves not to have years told. Therefore I lie with her and she with me, And in our faults by lies we flattered be. Sonnet # 73 (1609) That time of year thou mayst in me behold When yellow leaves, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs, where late the sweet bird sang. In me thou see’st the twilight of such day As after sunset fadeth in the west; Which by and by black night doth take away, Death’s second self that seals up all in rest. In me thou see’st the glowing of such fire, That on the ashes of his youth doth lie, As the deathbed whereon it must expire, Consumed with that which it was nourished by. This thou perceiv’st, which makes thy love more strong, To love that well which thou must leave ere long. Sonnet # 128 (1609) How oft when thou, my music, music play’st Upon that blessed wood whose motion sounds With thy sweet fingers when thou gently sway’st The wiry concord that mine ear confounds, Do I envy those nimble jacks that leap To kiss the tender inward of thy hand, Whilst my poor lips, which should that harvest reap, At the woods boldness by thee blushing stand. To be so tickled they would change their state And situation with those dancing chips, O’er whom thy fingers walk with gentle gait, Making dead wood more blessed than living lips. Since saucy jacks so happy now in this, Give them thy fingers, me thy lips to kiss. Genesis 28:10-15 10. Jacob left Beer- sheba, and set out for Haran. 11. He came upon a certain place and stopped there for the night, for the sun had set. Taking one of the stones of that place, he put it under his head and lay down in that place. 12. He had a dream: a stairway was set upon the ground and its top reached to the sky, and angels of the God were going up and down on it. 13.And the Lord was standing beside him and He said, “I am the Lord, the God of your father Abraham and the God of Isaac; the ground on which you are lying I will assign to you and to your offspring. 14.Your descendants shall be as the dust of the earth; you shall spread out to the west and to the east, to the north and the south. All the families of the earth shall bless themselves by you and your descendants. 15. Remember, I am with you; I will protect you wherever you go and will bring you back to this land. I will not leave you until I have done what I have promised”. Deuteronomy 6:4-9 4. Hear, O Israel. The Lord is our God, the Lord alone. 5. You shall love the Lord God with all your heart and with all your soul and with all your might. 6. Take to heart these instructions with which I charge you this day. 7. Impress them on your children, recite them when you stay at home and when you are away, when you lie down and you get up. 8. Bind them as a sign on your hand and let them serve as a symbol on your forehead. 9. Inscribe them on the doorposts of your house and on your gates. Psalm 150 Hallelujah Praise God in His sanctuary; Praise Him in the sky, His stronghold. 2. Praise Him for His mighty acts; praise Him for His exceeding greatness. 3. Praise Him with blasts of the horn; praise Him with harp and lyre. 4. Praise Him with timbrel and dance; praise Him with lute and pipe. 5. Praise Him with resounding cymbals; praise Him with loud-clashing cymbals. 6. Let all that breathes praise the Lord. Hallelujah. Isaiah 60: 1-3 1. Arise, shine, for your light has dawned; the presence of the Lord has shone upon you! 2. Behold! Darkness shall cover the earth, and thick clouds the peoples; but upon you the Lord will shine. And His presence be seen over you. 3. And nations shall walk by your light, Kings, by your shining radiance. Micah 7:18-20 18. Who is a God like you. Forgiving iniquity and remitting transgression; Who has not maintained His wrath forever against the remnant of His people, because He loves graciousness! 19. He will take us back in love; He will cover up our iniquities. You will hurl all our sins into the sea. 20. You will keep faith with Jacob, Loyalty to Abraham, as you promised on oath to our fathers in days gone by. Psalm 42 For the leader; A maskil of the Korahites. 2. Like a hind crying for water, my soul cries for you O God, 3. my soul thirsts for God, the living God; O when will I come to appear before God! 4. My tears have been my food day and night; I am ever taunted with, “Where is your God”. 5. When I think of this, I pour out my soul; how I walked with the crowd, moved with them. The festive throng, to the House of God with joyous shouts of praise. 6. Why so downcast, my soul, why so disquieted within me? Have hope in God; I will yet praise Him for His saving presence. 7. O my God, my soul is downcast; therefore I think of You in this land of Jordan and Hermon, in Mount Mizar, where deep calls to deep in the roar of your cataracts all your breakers and billows have swept over me. 9. By day the Lord vouchsafe His faithful care, so that at night a song to Him may be with me, a prayer to the God of my life. 10. I say to God my rock, why have you forgotten me, why must I walk in gloom, oppressed by my enemy? 11. Crushing my bones, my foes revile me, taunting me always with, “Where is your God”? 12. Why so downcast, my soul, why so disquieted within me? Have hope in God; I will yet praise Him, my ever-present help, my God. Psalm 121 1. I turn my eyes to the mountains, from where will my help come? 2. My help comes from the Lord, maker of heaven and earth. 3. He will not let your let your foot give way; your guardian will not slumber; 4. See, the guardian of Israel neither slumbers nor sleeps! 5. The Lord is your guardian; the Lord is your protection at your right hand. 6.By day the sun will not strike you nor the moon by night. 7. The Lord will guard you from all harm. He will guard your life. 8. The Lord will guard your going and coming now and forever. Psalm 67 For the leader; with instrumental music. A psalm. A song. 2. May the Lord be gracious to us and bless us, may He show us favor, SELAH. 3. that Your way be known on earth, Your deliverance among all nations.4. Peoples will praise You, O God; all peoples will praise You. 5. Nations will exalt and shout for joy, for You rule the peoples with equity; You guide the nations of the earth. SELAH. 6. The peoples will praise You O God; all peoples will praise You. 7. May the earth yield its produce, may God, our God, bless us. 8. May God bless us, and be revered to the ends of the earth. English Translation from The Jewish Publication Society Bible (JPS) Philadelphia, PA 2008 Genesis 28:10-15 10. Vah/yay/tzay Yaa/kove Meeb/e/ayr sheh/vah, vah/yay/lech chah/rah/nah. 11. Vah/yeef/gah bah/mah/kome, vhy/ah/len sham, kee vah ha/shehm/esh; vah/yee/kach may/ahv/nay hah/mah/kome, vah/yah/saym may/rahsh/o/tahv, vah/yeehs/kahv bah/mah/kome hah/hoo. 12. Vah/yahch/a/lome, ve/hee/nay soo/lahm mootz/ahv ahrt/zah, ver/o/sho mah/gee/yah hah/sham/ye/mah; veh/ee/nay mah/lah/chay Ehl/o/heem o/leem vey/o/deem bo. 13. Veh/ee/nay Ha Shem neet/zav ah/lav, vah/yom/ehr ah/nee Ha Shem eh/lo/hay Ah/vra/ahm vay/lo/hay Yeetz/chak; hah/ah/retz ah/sher ah/tah sho/chayv ah/leh/ha lech/ah eh/te/neh/nah oo/e/zahr/ah/cheh/cha. 14. Veh/ah/yah za/rah/chake/ahf/ahr ha/hahr/ehtz oo/fahr/akzt/ah yah/mah va/kayd/mah vetz/ahf/o/nah vahn/ehg/bah; ven/eev/rech/oo ve/chah kol meesh/pa/cot ha/hah/dahm/ah oo/ve/zahr/ach/ehcha.15. Veh/ee/nay ah/no/chee eem/e/cha ooshem/art/ee/chah be/chol ah/shertay/laych, vah/ha/sheev/o/tee/chah ehl ha/hahd/a/mah hah/zotr kee lo ah/ah/zeh/ve/chah ahdah/shereem ah/see/ta/ee et ah/sher dee/bahr/tee lahch. Psalm 150 1. Ha/lle/lu/yah, hal/le/lu El be/kod/sho, hal/le/lu/hu bir/ki/yah uzo 2.Hal/le/lu/hu vi/gev/ur/o/tav, hal/le/lu/hu be/rovgud/lo. 3. Hal/le/lu/hu be/tei/ka sho/far, hal/le/lu/hu be/nei/vel ve/chi/nor. 4. Hal/le/lu/hu be/tof u/mach/ol, hal/le/lu/hu bem/in/im ve/ug/av. 5.Hal/le/lu/hu vet/ziltz/e/lay sha/ma, hal/le/lu/hu be/tilt/ze/lay te/ru/ah. 6. Kol han/esh/a/ma te/hall/el Yah, hal/le/lu/yah. Psalm 42 1. Lah/men/ah/tzay/ahch mahs/keelleev/nay Ko/rah/ach.2.Ke/ah/yahl tah/ah/rog ahl ah/fee/kay mah/yeem, kayn nahf/shee tah/ah/rog ay/leh/chah Eh/lo/heem. 3. Tzah/mah nahf/shee lay/lo/heem, le/ayl/ chy; mah/ty ah/vo ve/ayr/ah/eh pe/nay Eh/lo/heem? 4. Hah/ye/tah lee deem/ah/tee le/chem. yo/mahm vah/lylah, beh/eh/more ay/ly kol ha/h/yome ah/yay eh/lo/heh/chah. 5. Ay/leh ehz/ke/rah ve/esh/pe/chah ah/ly nahf/shee kee eh/eh/vore bah/sahch, eh/dah/dayme ahd bayt Eh/lo/heem; be/kole ree/nah ve/to/dah hah/mone cho/gayg. 6. Mah teesh/to/chah/chee nahf/shee, vah/teh/he/mee ah/ly; ho/chee/lee lay/lo/heem, kee ode o/deh/noo pah/nahv. 7. Eh/lo/hee, ah/ly nahf/shee tessh/to/chahch, ahl kayn ehz/ka/reh/chah may/eh/rehtz yahr/dayn ve/chehr/mo/neem, may/hahr meetz/ahr. 8. Te/home ehl te/home ko/ray le/kole tzee/no/reh/cha, kol meesh/bah/reh/chah ve/ga/hleh/cha ah/ly ah/va/roo. 9. Yo/mahm ye/tzhah/ah/veh Ha Shem chahs/doe, u/vah/ly/lah shee/ro ee/mee; te/fee/lah le/ayl chah/yy. 10. Om/e/rah le/ayl sahl/ee, lah/mah she/chahch/tah/nee, lah/mah kod/ayr ay/laych be/lah/chatz o/yayve. 11. Be/reh/tzach be/ahtz/mo/ty chay/re/foo/neetzo/re/ry, be/ome/rahm ay/ly kol hah/yome ah/yay eh/lo/heh/cha. 12. Mah teesh/to/chah/chee nahf/shee, u/mah te/heh/mee ah/ly; ho/chee/lee lay/lo/heem, kee ode o/deh/noo ye/shoo/ote pah/ny vay/lo/hy. Selected Texts with Ashkenazi transliteration by Dr. Steven Cooper Biographies Soprano Marigene Kettler has a BA in Vocal Performance from Ithaca College in Ithaca, N.Y. She has studied and performed at the Hochschule fuer Musik in Vienna, Austria, the American Institute of Musical Studies in Graz, Austria and at the Aspen Music Festival in Aspen, Colorado. Marigene has been a featured soloist at the Grace Church Music Series and St. Paul’s Festival of the Arts performing Handel’s Messiah and the Brahms’ Requiem. She has also sung with the New Jersey Pops Orchestra and the Pro Arte Chorale. As a member of the close harmony trio Satin Dolls, Marigene has sung in Atlantic City and Manhattan. She is currently the Executive Director of The Rockland Conservatory of Music in Pearl River, New York. Since moving to N.Y. from Arizona more than 20 years ago, baritone, Russell Ashley has been a familiar face to audiences in the Tri-State area. In addition to appearing as a guest soloist with the Gregg Smith Singers, The Robert De Cormier Singers, and Amor Artis in New York, he has been a featured baritone at Madeline and Chartres Cathedrals in France and at the Madeira Bach Festival. Mr. Ashley has performed frequently with the National Grand Opera, New Jersey State Opera, The Opera Orchestra of New York and The National Chorale. After beginning his career as a music teacher in Phoenix, with Kindergarten through 6th grade students, Mr. Ashley moved to Flagstaff where he worked with high school choruses until 1984. At present he is the baritone soloist at the Reformed Church of Bronxville. He is also the conductor of the P.S. 310 School Chorus in the Bronx. Melissa Alexander is active as a soloist, collaborative artist, vocal coach and educator in the tri-state area. Melissa received her B.A. in piano performance from the State University at Albany and her Master of Music in piano performance and pedagogy from the Hartt School of Music. She also studied and performed at the summer piano festival in Barcelona, Spain. Her most important teachers include Ruth Geiger and Mildred Portney-Chase, both of whom were students of Josef and Rosina Lhevinne in the 1940¹s. Melissa is a founding member of the eclectic quintet Musicora, along with soprano Marigene Kettler. She is assistant music director of Grace Church in Nyack, NY. An energetic educator, Melissa has initiated and directed summer piano camp programs at both Rockland Conservatory of Music and Suburban Community Music School in Summit, N.J. Melissa teaches piano at the Rockland conservatory of Music, Concordia Conservatory, and is on the faculty of Westchester Community College. Tenor Roger Ohlsen has sung with the Edmonton, Calgary, Canadian Operas, Houston, Ottawa, Dallas, Florentine Operas, Theatre-Am-Turm in Frankfurt, Metropolitan Opera, New York Grand Opera, New York City Opera and Opera Orchestra of New York. He had full scholarships to both Manhattan School of Music and Juiliard School of Music in New York and made his debut in New York with The American Opera Centre at Juilliard in Massenet's “Manon” and Puccini’s “Boheme”. Roger has had 17 roles to date with New York City Opera, many roles with Eve Queler in Carnegie Hall. He has performed on the recordings of Charles Osborne’s Oratorio “Souls On Fire” and “Liquid Light” by Crane Kirkbride and Friends. Additionally, he has been a featured tenor at The Asti Opera Restaurant Cabaret in Greenwich Village. Roger has teaching studio in New York where he is currently accepting new students. Contact Roger at: (rogerohlsen@gmail.com) Jacquelyn Drechsler was a scholarship student of Mr. Julius Baker at Carnegie Mellon University, where she graduated with honors. In addition she has studied with Thomas Nyfenger, Paige Brooke, Bonnie Lichter and Harold Bennett. She performs regularly in the New York metropolitan area with a variety of chamber groups. She is a founding member of Kaleidoscope, which has performed at Carnegie Recital Hall and in the Third Saturday Concert Series in Manchester, Vermont. Jacquelyn was a featured soloist on the Key West Florida Chamber Series and has also been a soloist with the North Jersey Symphony and the Rockland Suburban Orchestra. In addition to performing, she maintains a private teaching studio and does commercial recording work. Jacquelyn can be heard on: “Ancient Echoes” by Joe Delia, “The Best of Virginia Dare” and “In My Home Town” by Tom Chapin. Jennifer Graham, oboe, earned a Bachelor of Music at the Hartt School of Music and a Masters of Music at the Manhattan School of Music. She freelances in the greater New York area and has performed with The American Composers Orchestra, the Westchester Symphony Orchestra, the New York City Ballet Orchestra and the Prism Chamber Orchestra. Ms. Graham has toured Italy and Costa Rico with the Florida Festival Orchestra and has recorded on the Composers Recordings Inc. label. Violinist Chris Cardona has spent his career performing with many of New York’s finest musical institutions. He holds a BMA from The Julliard School where he studied with Joseph Fuchs. After spending two seasons as a member of the Barcelona Symphony Orchestra, he toured extensively in the U.S. and Europe performing and as a part of several National Touring companies. Chris has played in numerous Broadway shows including “Ragtime” and “My Fair Lady” and was concertmaster for the critically acclaimed production of the chamber opera “Blood On The Dining Room Floor” at the Signature theatre in N.Y.C. In 2005 Chris starred on Broadway as the fiddler in “Fiddler On The Roof” with Rosie O’Donnell. More recently he has been performing in the Broadway production of “Spider Man”. Among the many ensembles he has performed with are the Grammy nominated Eos, Concordia and Riverside Symphony. Percussionist Ben Carriel graduated from Manhattan School of Music, the New England Conservatory and Lehman College. He has performed with the Boston Pops, Boston Ballet and the Boston Opera as well as the Maracaibo Symphony Orchestra and the Aspen Music Festival. He started his career with the Paul Winter Consort and has played at Tanglewood and many other venues in the USA and Latin America. Currently he plays with the Rockland Symphony and the Rockland County Band. He teaches at South Junior High School in Newburgh, New York and has many private students. Composer & Guitarist Matthew Baier received his Bachelor Degree in music from Nyack College, in Nyack, N.Y. where he studied composition with Paul Lilijestrand and classical guitar with Stanley Solow of Nassau Community College on Long Island. He received his MFA degree in Studio Composition from the S.U.N.Y. at Purchase where he studied composition with Dary John Mizelle. From 1999 through 2006 Mr. Baier hosted his annual original chamber music recitals at Saint Paul’s Festival of The Arts in South Nyack. Since 2007 his programs have been held at Grace Episcopal Church in Nyack N.Y. In addition to composing Mr. Baier has performed solo classical guitar recitals at the Queens Public Library, Suffern Free Library, Nyack Library, and The N.Y.U. School of Continuing Education. For comments, questions or info you may write directly to matthewsbaier@hotmail.com. Affiliations: Long Island Composer’s Alliance www.licamusic.org American Music Center www.AMC.net Webpage: www.matthewbaier.com and also Matthew Baier on Facebook. All music copyrighted by Matthew Baier 1997, 2000, 2001, 2005, 2006, 2009, & 2011. Guitar: William Del Pilar 1985, Brooklyn, New York. Yemenite Shofar: from Talit.com Yavne, Israel. Shruti Box by Manjo Kumar, Calcutta, India. Keshav Music Imports. My special thanks: to Marigene Kettler, Melissa Alexander, Russell Ashley, Roger Ohlsen, Jacquelyn Drechsler, Jennifer Graham, Chris Cardona, and Ben Carriel who have graciously given their time and talents in support of my musical endeavors. I would also like to thank: Thayer Woodcock of Grace Church for facilitating the use of this wonderful sanctuary for this concert. William Hargrove (1926 – 2010): the former organizer of the Festival of the Arts in South Nyack / St. Paul’s who enthusiastically programmed my recital each year from 1999 through 2006. Mr. & Mrs. Stanley Solow for their inspirational lifetime commitment to each other and for passing on the pedagogy of The Maestro, Andreas Segovia. Larry Alexander: recording & sound engineer for his curious and creative input. My wife Emily and daughter Stephanie: for their love, inspiration and support. To all of you, the audience, particularly those of you attending year after year. Please sign the guest book so I may update the mailing/e-mail list.