Premieres: Conrad Chow, Violin

Cambria Master Recordings, 2012

Conrad Chow-Violin, Sinfonia Toronto, Ronald Royer-Conductor & Bruce Broughton-Piano

“Royer gives us a great vehicle and Chow plays his music with great finesse. I definitely want to hear more from this composer.” 

FANFARE, Maria Nockin

Introduction by Conrad Chow

The focus of this CD centers on the concept of the Premiere: the first showing of, or introduction to, something new. To that effect, I’m honoured to present each of the works on this CD for the first time on a recording. While new, each piece is inspired by earlier musical styles: Bruce Broughton’s Triptych evokes elements of the Baroque, 20th-century Prokofiev, and Celtic fiddle music of Scotland; his Gold Rush Songs are based on traditional American folksongs. Ronald Royers’s Rhapsody was inspired by rhapsodies of the mid-19th to early 20th centuries; the inspiration of his In Memoriam J.S. Bach needs no explanations. Kevin Lau’s Joy is inspired by turn-of-the-century Romanticism, as well as film music. Finally, I chose to include a favourite of mine, Chopin’s Nocturne in C# Minor, as an encore.

Ronald Royer – Rhapsody for Violin and Chamber Orchestra (12:43)

The Rhapsody draws inspiration from a variety of European sources, including French Impressionism, German Expressionism, Hungarian folk music, and virtuosic Spanish violin music. Combining all these disparate styles of music, ranging from Ravel and Bartok to Sarasate, allowed me to create a new work based on a traditional and popular form. Composing took place in three comfortable locations, my home in Toronto, my in-laws’ home in the rural Ontario town of Cayuga and my parents’ home in Los Angeles. This also helped in giving me the right ambience and variety of influences for this enjoyable endeavor. The Rhapsody was commissioned by the Orchestras Mississauga (John Barnum, music director) with the assistance of the Canada Council for the Arts.

Ronald Royer – In Memoriam J.S. Bach (Sarabande and Capriccio) for Violin Solo, Flute, Clarinet, Bassoon, String Quartet and Harpsichord (5:58 & 5:51)

In Memoriam J.S. Bach (2011) is a new arrangement of two movements from the Partita for Violin and Chamber Orchestra, composed in 2000 to honor the 250th anniversary of the death of J.S. Bach in 1750. In Memoriam takes its inspiration from Bach’s compositional mastery, as well as his ability to compose expressive and virtuosic music.

My Sarabande is based on the first two bars of the Sarabande from Bach’s Cello Suite No. 2 in D minor. The second part of this movement is more emotional in character and is based on the Allemande from Bach’s keyboard Partita No. 4 in D major.  I had to do some juggling with the rhythm, since Bach’s Allemande contained four beats per bar. One beat from each bar had to be removed to fit the three-beat form of the Sarabande.  The original melody is heard again at the end of the movement, overlaid by a florid counter-melody by the solo violin.

Capriccio, an Italian word-meaning whim or fancy, was used by Bach as a title of two of his compositions for keyboard. I chose this title to describe a work which combines a more contemporary style with Bach’s compositional techniques, as well as highlighting the humour of these works.

The Capriccio is a playful variation of a Bach Gigue, transformed into a classical era Rondo (ABACABA) form. The original A theme in G minor is written to imitate a Bach Gigue, although the rhythm is irregular, switching between five, six, or seven beats per bar. The B section begins with a darker and smoother version of the A theme, before leading into a series of Bach-like sequences. The C section enters in the new key of E minor and is derived from the first four bars of the A melody, but appears in retrograde (i.e. played backwards). This incarnation of the A theme assumes a Latin American character, as found in the music of Alberto Ginastera. When the A section returns, it is in the form of a Bach Fugato, although the rhythm is still irregular. The returning B and A sections are in an ornamented form, another Bach technique. There follows a short cadenza for the solo violinist, which leads into the final coda section with its homage to Bach’s cadential endings.

iPalpiti Orchestra

BCM+D Records
2012

iPalpiti Orchestral Ensemble of International Laureates, Eduard Schmieder-Conductor

Tibi Cziger-Clarinet, Yves Dharamraj-Cello, Julius Berger-Cello, Luiza Borac-Piano

CD 1

1-2. W.A. Mozart – Adagio and Fugue in C Minor, KV546

3-5. Frédéric Chopin – Piano Concerto No. 1 in E Minor, Op. 11, Luiza Borac, Piano

CD 2

  1. Ronald Royer – In Memoriam Fryderyk Chopin for Clarinet, Cello and String Orchestra, Tibi Cziger, Clarinet and Yves Dharamraj, Cello
  2. Robert Schumann – Cello Concerto in A Minor, Op. 129, Julius Berger, Cello

3-6. Benjamin Britten – Simple Symphony

  1. Leroy Anderson – Plink, Plank, Plunk!

In Memoriam Fryderyk Chopin is based upon and inspired by the Nocturne in E Minor, Op. 72, No. 1 for piano.  In Memoriam serves as a reflection on the life, work and death of Chopin at the age of thirty-nine.  After a short introduction, a meditative section features violin trills and a cadenza for clarinet followed by one for cello.  A more rhythmic and energetic section follows, which is meant to suggest his struggles in life and creativity.  After a climactic section for the string orchestra, a more peaceful section shines through representing the beauty, joy and genius of Chopin’s legacy.

A Selection of iPalpiti Orchestra Quotes

“(iPALPITI) performance can be called righteously overwhelming…–Noord Holland Dagblad

“…an astounding demonstration of seamless and beauteous string playing…memorable, luminous, deeply moving performance…”—Daniel Cariaga, Los Angeles Times (2002)

“…a fitting name for the vibrant string orchestra…lustrous, polished tone and graceful phrasing.”—New York Times (2007)

“…rich sonorities (of iPalpiti) audibly took the audience’s breath away…”—STRINGS Magazine (2005)

“…(under Mr. Schmieder’s direction) iPalpiti sprang to life as a single, singing voice. It was the natural, “vocal” quality that stayed with me long after the final notes of the concert were sounded…”—John Ardoin, Music Critic, Dallas Morning News (1992)

“…Lead by conductor Eduard Schmieder with passion, intelligence, refinement and imagination, iPalpiti demonstrated an almost uncanny unanimity of sound and vibrato…It was especially remarkable to hear such a wide variety of individual tones emerge and then slip back into those fabulous unisons…”—The Strad (June 2009), review of the Carnegie Zankel Hall concert, New York.

Hark: A Christmas Celebration for Trumpet and Organ

Independent
2010

HornPipes! Duo, Pamela Smitter-Baker-Trumpet & Michael Bloss-Organ

Tracks:

  1. Of the Father’s Love Begotten, Plainchant: Divinium Mysterium, .46
  2. Washet auf! Ruft uns die Stimme (verse 1), Johann Ludwig Krebs (1713-1780), 2:26
  3. Chorale: “Nun seid ihr wohl gerochen” (Christmas Oratorio BWV 248), Johann Sebastian Bach (1685-1750), 2:29
  4. Rejoice greatly, O daughter of Zion (Messiah HWV 50), George Frederic Handel (1685-1759), 4:52
  5. Wachet auf! Ruft uns die Stimme (verse 2) Johann Ludwig Krebs (1713-1780), 4:04
  6. If With all your Hearts (Elijah) Felix Mendelssohn (1809-1847), 2:48
  7. Organ Toccata on “God Rest Ye Merry, Gentlemen” (An Advent Christmas Suite), Alfred V. Fedak (b. 1953), 2:06
  8. Gloria in Excelsis Deo (Angels We Have Heard on High) arr. Jean Thilde, 1:45
  9. Ave Maria Op. 52 No. 6 Franz Schubert (1797-1828), 2:13
  10. Wachet auf! Ruft uns die Stimme (verse 3), Johann Ludwig Krebs, (1713-1780), 3:47
  11. The Adoration of the Shepherds – A Meditation for Trumpet and Organ, Ronald Royer (b.1959) World Premiere Recording, 8:16
  12. Ave Maria, Guilio Caccini (1551-1618) arr. Nicholas Palmer, ASCAP, 4:33
  13. A Rondo for Christmas, Naji Hakim (b.1955), 4:53
  14. Dieu Parmi Nous (La Nativite), Olivier Messiaen, (1908-1992), 7:36

Ronald Royer – The Adoration of the Shepherds, A Meditation for Trumpet and Organ (8:16)

The Adoration is based on two verses (Luke 2:9-10) from the King James version of the Bible. The composition is divided into three continuous parts, based upon three selections of text.

  1. And lo, the angel of the Lord came upon them,
  2. And they were sore afraid.
  3. And the Angel said unto them, Fear not: for behold, I bring you good tiding of great joy, which shall be to all people.

In Part One of the composition, the music is slow and unmetered, creating an atmosphere of mystery and suspense as the Shepherds realize something unusual is about to happen.

In Part Two, the tempo of the music accelerates and builds in intensity, all the while creating a mood of increasing apprehension. This second section features a dramatic trumpet melody and a fugato section for both the trumpet and organ.

Part Three begins with a chorale-like idea introduced by the organ. The feat and suspense pass, resolving into joy.

The Adoration of the Shelpherds was written in the fall of 1998 and is dedicated to Erik Schultz and Jan Overduin. The premiere performances took place in Germany in December 1998.

The Hollywood Flute of Louise DiTullio

Cambria Master Recordings
2009

Louise DiTullio-Flutes
Sinfonia Toronto, Ronald Royer-Conductor

“This CD was recently evaluated by me and I believe it is one of the best soloist performances of film music in recent years. Louise DiTullio’s flute playing is flawless and the choice of film music is outstanding, especially the suite from HOOK, arranged by Mark Watters. Also, the selections arranged by Ronald Royer make for very enjoyable listening. Because of its excellence I am designating this CD as Editor’s Choice, Best of the Month. It fully deserves any accolades it might receive. “

Roger Hall, Film Music Review, November 2010

This recording fulfills my own personal goals to revisit and record some of the solos I have played in films over my long career as well as concert music written for me by celebrated film composers. I have had long-standing professional relationships with all of the composers on this disc over several decades, having played on more than 1,200 movies, many of them scored by these composers. Le Papillon was written for me by David Rose in 1980 and I played its premiere in the same year. It has been my wish ever since to help secure a place for it in the flute repertoire with a recording.

Born in Los Angeles, the progeny of two wonderful, highly respected musical families,  I grew up as a musician with the support, encouragement and advice of my father, several uncles and cousins, all busy, working professionals.  My father, cellist, Joseph DiTullio, my sister, pianist Virginia DiTullio Royer, and I performed for many years as the DiTullio Trio. Living in Los Angeles, I have had the opportunity to pursue simultaneous careers in recording as well as all facets of classical music.

Words can never express my gratitude to John Williams, John Barry, Danny Elfman, Laurence Rosenthal, and posthumously, Jerry Goldsmith and David Rose, for the honor of playing in their orchestras for literally decades. Their music has filled me with joy and provides an outlet for music-making of an entirely different kind.  Although I love playing classical music, playing movie music of the quality that they produce completes a musical circle for me that I value beyond measure.  I thank them for allowing me to adapt and include their music in this presentation.  Thank you to David Rose Publishing for commissioning the reduced orchestration of Le Papillon to make this recording possible, and for permission to make this first recording of the work.  Thanks also to Larry Rosenthal for his permission to make the first recording of The Piper at the Gates of Dawn.  Special thanks to composer Mark Watters for his remarkable adaptation and orchestration of the music to Hook.  And finally, special recognition and thanks to my nephew, Ronald Royer, for composing Short Stories for this CD, arranging the movie music and Le Papillon, conducting the recording sessions, and taking care of a myriad of details as the project’s co-producer. It is largely due to his efforts that this CD was conceived and became a reality.

Finally, now that it is complete, there is the realization and satisfaction that there is more than an hours’ worth of new repertoire for the flute.  It is at once beautiful, challenging, fun, and musically rewarding.  I take great satisfaction in sharing this music as a legacy to future flutists.  May they enjoy playing it as much as I.

–Louise Di Tullio, August, 2009

Short Stories for Flutes, Harp, Percussion & String Orchestra

Siren’s Song, for Alto Flute (4:07)

Rather Blue, for Bass Flute (3:23)

The Chase, for Flute (2:55)

Child’s Play, for Piccolo (3:24)

Commissioned by Louise DiTullio for The Hollywood Flute CD Recording and Concerts, Short Stories was composed to showcase the varied tone colors and techniques of the alto flute, bass flute, flute and piccolo. During her career as a free-lance musician in the studios of Los Angeles, Louise has regularly been asked to play these four unique instruments. As well, Short Stories was designed to connect with the style and programmatic content of the film music theme of The Hollywood Flute project.

Siren’s Song for alto flute was inspired by the many great scores for Film Noir movies. The composer felt the hauntingly beautiful sound of the alto flute was a perfect fit for the classic femme fatale character of this genre.

Rather Blue for bass flute was inspired by blues and jazz; two musical idioms commonly found in film music. While the bass flute can be found in jazzy scores by composers like Henry Mancini, it is unusual to find the instrument playing quite so many notes as found in this challenging piece.

While the solo flute is usually not the featured instrument heard during dramatic chase scenes, The Chase was composed to demonstrate that the flute can play with the flair and virtuosity needed to create the tension required for effective ‘chase’ music. Imagine a scene featuring a chase on foot through the narrow streets of a crowded city.

Child’s Play for piccolo was inspired by the qualities of magical imagination and youthful enthusiasm commonly found in music associated with children in film. Louise specifically requested that the movement for piccolo feature the less commonly used melodic aspect of the piccolo as well as the typical virtuosic side of the instrument.

It was a true pleasure to be able to create this recording with my aunt, Louise DiTullio. I grew up hearing Louise, my pianist mother Virginia DiTullio Royer, and my cellist grandfather, Joseph DiTullio rehearsing and performing. These and other family members inspired me to become a musician. It was wonderful to be able to work with Louise, first as a cellist and later as a composer and conductor. This recording is a special part of that collaboration.

It was my honor and pleasure to be able to arrange and conduct the music of a group of great film composers. Finally, I appreciated co-producing this recording with my friend, Dr. Jeannie Pool, another person I have great respect for.

Ronald Royer

Audio Tracks on YouTube:

Gooby

“5 DOVES. Highest Rating. This is truly a movie for the entire family.” – The Dove Foundation

Genre: Action and Adventure, Family

 Cast: Matthew Knight, Robbie Coltrane, Eugene Levy, David James Elliott, Ingrid – Kavelaars

Writer, Director, Producer: Wilson Coneybeare

Composers: Ronald Royer and Kevin Lau (Orchestrated by Chris Meyer)

 

Imagine if you had a six-foot tall “monster” to help you through the rough times when you were a kid! Willy (Matthew Knight) is terrified about moving into the family’s new house. He’s convinced it’s filled with evil space aliens out to get him. In response to his longing for someone to save him, Gooby (voiced by Robbie Coltrane, Harry Potter’s Hagrid) comes to life as a big, lovable, scruffy creature who quite possibly may be more frightened of the world than Willy. The two new pals embark on hair-raising adventures and learn about courage and the power of friendship all the while with Eugene Levy (Night at the Museum) on their trail. In the end, Gooby fulfills Willy’s wish by bringing Willy and his dad (David James Elliott, “JAG”) together in a heart-warming and exciting climax.

Gooby premiered at the Cannes International Film Festival, was a finalist at the International Family Film Festival, Los Angeles, showed at the Platinum Remi Worldfest, Houston, International Film Festival, and was an Official Selection, Sprockets Toronto International Film Festival for Children.

http://www.montereymedia.com/theatrical/films/gooby.html

triofus/morofus

Independent
2008

Mark Payne-Piano; Robert Riseling-Clarinet; David Hayward-Bassoon; Anne Thompson-Flute

Ronald Royer – In Memoriam Fryderyk Chopin for Clarinet, Bassoon and Piano (7:08)

Mark Payne-Piano, Robert Riseling-Clarinet, David Hayward-Bassoon

Iin Memoriam Fryderyk Chopin is based upon and inspired by the Nocturne in E Minor, Op. 72, No. 1 for piano. In Memoriam serves as a reflection on the life, work and death of Chopin at the age of thirty-nine. After a short piano introduction, a meditative section features a cadenza for clarinet followed by one for bassoon. A more rhythmic and energetic section follows, which is meant to suggest his struggles in life and creativity. After a climactic section ending with a piano solo, a more peaceful section shines through representing the beauty, joy and genius of Chopin’s legacy. Originally written for clarinet, cello and string orchestra in 1999, In Memoriam was rewritten in 2007 for TriofuS. Ronald Royer’s’ friend and colleague, Chris Meyer, created the piano part from the string orchestra parts.

1-3. Divertimento – Paul Carr

4-6. Trio – Madeleine Dring

7-10. Four Panels from My Past – Allen Torok

11. In Memoriam Fryderyk Chopin, for Clarinet, Bassoon and Piano – Ronald Royer

12. Trio Breve No. 1 – John Burge

The Nightingale’s Rhapsody

Cambria Master Recordings
2007

Music for Clarinet and Strings, World Premiere Recordings

“Two compositions, Romance for Clarinet and Strings, and Rhapsody for Clarinet, Percussion and Strings, come from the pen of Ronald Royer. These masterful and witty pieces live up to Royer’s reputation for music that is both entertaining and imaginative.”

Showtimemagazine.ca,  Stanley Fefferman

Introduction

This collection of new compositions for clarinet and strings represents an idea that began at the turn of the Millennium in 2000.  At that time, I undertook to commission works which would be consonant with the uniquely expressive yet dynamic voice of the clarinet.

The four commissioned composers have each established a distinguished body of music which demonstrates their exceptional lyrical gifts, as well as their respect for music of established compositional techniques. Each of the composers responded to my wish to have a lyrical but dramatically rhapsodic work created especially for this recording project. Some of the commissioning criteria embrace the same traditions as many of the rhapsodic music of earlier masters such as Debussy, Brahms, Bliss, Liszt, Ginastera and Gershwin.

What has emerged has more than fulfilled my expectations, and we now have a new collection of truly brilliant works to add to the already-rich clarinet repertoire. It is my wish that performers and audiences enjoy these beautiful examples of the finest of today’s creative artists, and explore other music from their extensive output. – Jerome Summers

Composer’s Notes:

The Romance for Clarinet, String Orchestra, Piano and Harp was rewritten in the fall of 2004 for clarinetist Jerome Summers based on a previously composed orchestral piece called Cinema, which had been written the previous winter.  Cinema was commissioned for a special 40th anniversary concert to celebrate the foundation of the Hamilton Philharmonic Youth Orchestra and Dr. Glenn Mallory’s directorship. I had asked Glenn to describe his dream composition for this project.  After some thought, Glenn said he would love a piece featuring a beautiful romantic melody.

Today, one of the fields of musical composition that most highly values sweeping romantic melody is music for film.  Having worked in Los Angeles for the motion picture and television industry during the 1980’s, I decided to draw on this experience to compose Cinema.  Combining both American and European influences, Cinema and therefore Romance was written in two sections.  In this version called Romance, the opening section has a “Magical” atmosphere created by the strings, piano and harp against a more improvisatory and melodic clarinet part ending with a solo clarinet cadenza.  In the second section, the main romantic melody is first heard in the clarinet.  This section also includes a darker “film noir” melody featuring a solo violin and cello with the clarinet.  Romance ends as it began, quietly and calmly.

Romance was first performed by clarinetist Jerome Summers and the Toronto Sinfonietta conducted by Ronald Royer at the Royal Ontario Museum in Toronto on January 23, 2005.

The Rhapsody for Clarinet and String Orchestra was created to showcase various musical and technical features of a solo clarinet while being supported by a string orchestra and percussion.  I chose the form of a rhapsody because I felt it would give me the ability to show off the clarinet’s flexibility while also allowing me to have some fun composing a piece with a variety of musical styles and moods.

In the 19th-century, the rhapsody became a highly emotional and free musical form with large changes of moods connected to Hungarian or gypsy violin playing.  The height of this trend can be found in the 19 Hungarian Rhapsodies of Liszt (1846-85).  In the 20th-century, Bartok, Enescu and Ravel are some notable examples of European composers writing rhapsodies in this same trend.  As well, it is important to note that Debussy wrote the wonderful Premiere Rhapsodie for clarinet and piano for the Paris Conservatoire in 1910 to feature the player’s technical ability for its end-of -year wind instrument examinations.  In my Rhapsody, I have tried to pay tribute to this excellent collection of rhapsodies while also adding some other musical influences, including some rhapsodies by the Argentinean composer Alberto Ginastera.

In three continuous sections, the Rhapsody starts with a slow mysterious mood that introduces the main musical motives and melodies of the composition.  Next, the tempo increases while the music becomes more tender and flowing, ending with solo clarinet cadenzas.  The final section is a fast paced virtuoso rondo including Hungarian, Latin American and various other musical elements to complete the clarinetist’s musical workout.  The Rhapsody was commissioned and first performed by clarinetist Jerome Summers accompanied by conductor Stephane LaForest and Orchestra London (Ontario, Canada) on November 2, 2005.

Notes From the Recording Sessions 

I was very pleased when Jerry Summers asked me to join the sessions as a project liaison.  Having been a part of many recordings as both a professional cellist and a composer, I always enjoy the excitement of preserving a musical performance.  Arriving at the Ottawa church where the recordings sessions would take place, I was struck by the enthusiasm, passion and dedication of all the people working on this project.  There had been some last minute challenges to test the organizing team.  Jerry’s clarinet was accidentally damaged during the previous day’s rehearsal, so emergency repairs by the local clarinet expert were quickly arranged.  One of the viola players was forced by an emergency to withdraw from the recording sessions requiring a last minute substitution.  The piano player came down with a nasty flu but decided she would still try to play.  Then on the first day of recording, a very noisy hydro truck was deployed just outside the church, but the workers graciously responded to our plea for quiet! These were only a few of the situations in play leading up to and starting the sessions.

Simon Streatfield, the conductor and a veteran of many recordings, led the musicians with a cheerful demeanor and expertise that was an inspiration.  Keith Horner, the recording producer with years of experience at the CBC, kept the recording process on track giving directions and feedback with his rich and elegant voice.   A wonderful example of the players’ commitment to this project came from the principal percussionist, Andre Morin.  Before the sessions began, he realized the part scored for a low tom-tom in my Rhapsody presented recording challenges so he built a special drum just for this recording.  He didn’t ask for any additional money for all his work and he was right, this new drum did record beautifully.  All the players were amazing and illness didn’t stop the pianist from delivering an excellent performance.  Our clarinet soloist played all day with amazing musicality and verve, never showing signs of fatigue.

When the sessions were finished, the orchestra gave Jerry a round of enthusiastic applause, congratulating him for his outstanding playing and for organizing this very special Canadian project.  As a composer and a musician, I can’t tell you how much I enjoyed being a part of these sessions.

Jerome Summers-Clarinet, Thirteen Strings Chamber Orchestra, Simon Streatfeild- Conductor

1-2. Ronald Royer – Romance for Clarinet, String Orchestra, Piano and Harp (9:10)

3-6. Oliver Whitehead – Pissarro Landscapes for Clarinet, Piano and Strings (21:28)

7-10. Michael Conway Baker – Concerto for Clarinet, Piano, Percussion and Strings (16:21)

11-12. Dale Reubart – Arioso for Clarinet and String Orchestra (11:25)

13-14. Ronald Royer – Rhapsody for Clarinet, Percussion and String Orchestra (10:52)

The Storyteller’s Bag

“Thoroughly original…thoroughly engaging…wonderful mix of new music and stories for young audiences…my screen-addicted five-year-olds listened with rapture the first time I put on The Storyteller’s Bag and begged for it again the next day.”

– City Parent magazine, 2006

Overture to an Unscripted Movie

INDEPENDENT
2002

“A real winner for concert audiences, an “Overture to an Unscripted Movie” is a blend of a big Hollywood film score and a symphonic tone poem. A keen dramatic flair, expert craftsmanship and a sensitivity for the tradition of the “Hollywood Sound” combine to create a highly enjoyable listening experience.”

–Jeannie Pool, former Executive Director for the Film Music Society, Los Angeles Music Producer and Musicologist

Bohuslav Martinu Philharmonic Orchestra, Tomas Koutnik-Conductor

1. The Hero (2:59)

2. The Villain (2:38)

3. The Love Theme (2:12)

4. The Fight (3:48)

Total Time = 11:38

 

 

An Overture to an Unscripted Movie was composed to pay homage to the orchestral scores written for Hollywood action/adventure films.  The Overture is in four sections:  The Hero, The Villain, The Love Theme, and The Fight.  Since the Overture was written for an unscripted movie, the composer encourages both performers and audience members to create their own movie plots.

To write this composition, Mr. Royer drew on his work as a freelance cellist in the Motion Picture and Television Industry in Los Angeles during the 1980’s.  Some of the films he worked on are:  Star Trek 3 and 4, Lethal Weapon, Footloose, Gremlins, Children of a Lesser God, and television shows such as Little House on the Prairie, Dallas, and Fantasy Island.  He had the opportunity to play under many of the top film composers including Jerry Goldsmith, James Horner, Maurice Jarre, Henry Mancini, Lalo Shifrin and John Williams.