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Sequitur, Peabody Trio, Cygnus Ensemble
Harold Meltzer: Brion / Sinbad / Exiles:
Naxos 8.559660
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Brion
Harold Meltzer
Cygnus Ensemble
James Baker, Conductor
1. I.
2. II.
3. III.
Songs from Silas Marner
Harold Meltzer,
George Eliot, lyricist
Elizabeth Farnum, soprano
Gregory Hesselink, cello
4. No. 1. At Night Came His Revelry
5. No. 2. The Bewilderment of Waking
Sindbad
Harold Meltzer
Donald Barthelme, lyricist
John Shirley-Quirk, narrator
Peabody Trio
6. I. The Beach
7. II. Classroom
8. III. Sindbad's Wives Look Back
9. IV. The Beaux - Arts Ball
10. V. Tennis
11. VI. At Night
12. VII. Experience
13. VIII. Water Cannon
14. IX. Waltzes
15. X. Teaching
Exiles
Harold Meltzer
Conrad Aiken/Hart Crane, lyricists
Richard Lalli, baritone
Sequitur
Paul Hostetter, Conductor
16. I. Exile
17. II. Exile (after the Chinese)
Carter, Meltzer, Rakowski & Musgrave
Sequitur-Concertos:
Albany Records Troy 607
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Track listing:
01.-02.
Harold Meltzer-Virginal (2002)
For Harpsichord and Chamber Orchestra
Sara Laimon, harpsichord
03.-07.
David Rakowski-Locking Horns (2002)
For Horn and Chamber Orchestra
Daniel Grabois, horn
08.
Thea Musgrave-
Lamenting With Ariadne (1999)
For Viola and Chamber Orchestra
Daniel Panner, viola
09.
Elliott Carter-Double Concerto
For Harpsichord and Piano with Two Chamber Orchestras (1961)
Sara Laimon, harpsichord
Steven Beck, piano
Total Time: 1:06:28 
Patti Monson, flute
High Art: Chamber Music for Solo Flute:
Albany Records Troy 629
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Track listing:
01.-04.
Harold Meltzer-Rumors (1999-2001)
05.
Martin Bresnick-High Art For flute & electronics (1982)
06.
Mathew Rosenblum-Under the Rainbow For flute & electronics (2002)
07.
Steve Burke-Nervosa For solo flute (2001)
08.
David Lang-Thorn For solo flute (1993)
09.
Randall Woolf- Pattibox For flute & programmed drum machine (2001)
Total playing time 1:01:00
“Monson taps virtuosity on many levels.”
–
Robert Kirzinger
Fanfare Magazine
"Ms. Monson pushing the edges of contemporary technique...seemed fully at ease with the demands these works made, but the most compelling aspect of her performance was the degree to which she let musicality take over. "
–Allan Kozinn
The New York Times
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