| Check out Jay Greenberg on NPR's Performance Today | |
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Jay Greenberg will be on NPR''s Performance Today this Wednesday, November 15, as part of their “Young Musicians” series. For information on station and times please go to http://www.npr.org/programs/pt/about.html |
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| The Press Loves Symphony No. 5 | |
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“A gift for drama and for lyricism, expressed in sophisticated colors and textures … There is verve in the rhythms and invention in the harmonies; the tunes catch the ear. Movement by movement and start to finish, the architecture has a sturdy logic that does not preclude surprise. It is an impressive debut.” THE NEW YORK TIMES “"Jay Greenberg's talent is immense...There seems little question that this youth has demonstrated a remarkable facility for writing accomplished music …” LOS ANGELES TIMES “The Fifth Symphony makes it obvious that Jay is a craftsman: an orchestrator, a developer, a technical whiz. And his musical ideas seem to flow easily, naturally …The Quintet, if anything, more impressive than the symphony. Like the larger piece, it is well wrought, and it has the intimacy – the immediacy of communication that chamber music should have … even if he composes nothing else – unthinkable – he has already given us something to listen to.” NATIONAL REVIEW “Greenberg pieces reveal a major talent …The orchestration is remarkably assured, showing a keen ear for how sections of instruments can complement and play off each other. There’s a clear sense of direction and purpose to the work, a build-up of drama and tension that ends with a blaze of high-spirited energy …Greenberg creates real music, fresh music …The disc provides an introduction to a composer who has probably only just begun to surprise the heck out of us.” THE BALTIMORE SUN “He is the real thing, as it turns out, a gifted, smart composer of serious concert music, and he's only 14. He writes music that is tonal and could be called Romantic, but it's not the kind of lush, imitation-Brahms that we used to hear in the 1970s, nor does it owe anything to Minimalism. It's grounded in a strong sense of structure and a feeling for orchestral color that is vivid and apt, but never gaudy.” STAR TRIBUNE “Greenberg has loads of talent and knows how to deploy large musical forces.” PHILADELPHIA INQUIRER "The appearance of such a prodigy is reason for celebration, and Jay Greenberg, 14, is certainly a remarkable talent... Both pieces are assured in form and advanced in technique.” BOSTON GLOBE “The masterful handling of the orchestra and the large-scale understanding of musical form are all the more amazing … Greenberg's precocious skills far exceed the novelty value of his child-prodigy appeal … The symphony is impressively satisfying, with the end of the slow movement offering several minutes of especially magical beauty … In his more recent String Quintet, however, the intimate medium inspires Greenberg toward a more personal statement, while also moving him to play with the string instruments' darker tone colors … A work as strong as this Quintet suggests a genuine expressive impulse that ought to sustain this prodigy well into adulthood.” BARNES & NOBLE.COM “Obviously, the magic name ‘Mozart’ is unavoidable in writing about such precocity. (Some throw in Mendelssohn and Saint-Saens in this connection.) And yet, if you didn't know you were listening to the music of a phenomenal child prodigy you might think that some new neo-Romantic American composer from the mid-20th century had been newly discovered.” BUFFALO NEWS “Skepticism is soon overcome by fascination and admiration for Jay Greenberg’s Symphony No. 5, recorded by the London Symphony Orchestra led by José Serebrier on a just-released Sony Classical CD. Greenberg’s symphony is well worth hearing, leaving this listener curious about his future output.” THE PATRIOT LEDGER “This is music of bold cut and thrust, with ample color and contrapuntal interest. The scherzo is a galumphing jig worthy of Vaughan Williams, and the finale's rumbustious close suggests both Britten's Young Person's Guide to the Orchestra and Hindemith's Symphonic Metamorphosis. The string quintet, with a second cello, favors a sinuous chromaticism suggesting Eastern European antecedents.” DALLAS MORNING NEWS “His first CD Symphony 5 / Quintet for Strings is an outstanding accomplishment for any composer, let alone someone of this young age. The piece is beautiful with alluring dark undertones. Greenberg’s symphony brings the orchestra together and builds a beautiful piece with many layered sounds and moods … This is a symphony of emotion with many changes and wonderful crescendos and somber melodies. This piece is sure to be recognized as a great modern symphony and will likely be added to the repertoire of many orchestras worldwide.” CELEBRITY CAFÉ |
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| Jay Greenberg featured in Boston Herald | |
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Jay Greenberg has accomplished more than many composers five times his age. Last month, Sony Classical released the 14-year-old’s major-label debut, “Symphony No. 5.” The title track was recorded by the London Symphony Orchestra, conducted by Jose Serebrier. The CD’s second piece, “Quintet for Strings,” features the Juilliard String Quartet and cellist Darrett Adkins. Though he just returned to New Haven, Conn., from a trip to Israel and Estonia, Greenberg took some time out to speak - very modestly - about his accomplishments. Which composers have influenced you? I’ve been influenced greatly by the nonmusical writings of people such as Leonard Bernstein, Igor Stravinsky and Aaron Copland. And also by the actual music of people such as Bela Bartok and Sergey Prokofiev. Was there a particular story or emotion you were trying to get across with your “Symphony No. 5”? I have no idea. I believe I was quite bored in history or creative writing class. And I decided to start writing a piece of music, which became the first movement of the symphony. I was looking at a map of the world - that’s all I remember. But I don’t think that had any bearing on what the piece ended up sounding like. You’ve written more than 100 musical pieces. What’s your writing process like? Most revising of the actual music is done, before I ever start writing it, in my head. Basically, I just write it down after it’s fully formed. Then, I look at it and make edits for things that aren’t possible or with structure that’s bad: where there are extra measures or mistakes, typographical errors and so on. So do you have music playing in your head all the time? Yeah - but not all of it is mine. How do people your age react when they find out you’re an accomplished composer? A lot of people say things like, “Oh that’s cool,” and want to talk about something else. What’s the toughest part about being a young composer? It’s not that much different from being an old composer. It’s actually easier because I don’t have an established style and people aren’t going to criticize me for writing immature works. And not everything I do will be expected to resemble the work of, say, a 35-year-old. Do you wish people would stop paying so much attention to your age? Yeah, it’s not really the point. The point is that I’m writing music, not that I’m writing music at a certain age. You’ll be starting 12th grade this fall. Do you plan to attend college? Probably next year. I will study music, but I probably won’t major in it. I’m trying to decide between philosophy and one of the sciences - probably chemistry or physics. Or maybe psychology. Do you see music as your career path? Probably . . . I don’t know -Heather V. Eng, Boston Herald, September 2006 |
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| Jay Greenberg's Debut | |
 Sony BMG Masterworks has entered into a unique collaboration with the young American composer Jay Greenberg, with an exclusive contract to record his music, Gilbert Hetherwick, President of Masterworks, announced today. Still in his teens, Greenberg already has emerged as a promising and prolific composer with a rapidly expanding catalogue of solo, chamber and orchestral works. The first Masterworks release under the agreement, released on the Sony Classical label on August 15, 2006, includes recording premieres of Greenberg’s Symphony No. 5 – with José Serebrier conducting the London Symphony Orchestra – and his String Quintet with the Juilliard String Quartet and cellist Darrett Adkins.“Jay and his music represent the future, and I believe his work symbolizes the renewed confidence we at Sony BMG Masterworks have in the future of classical music,” Hetherwick said, in announcing the signing. “Obviously, what caught our attention was the fact of his age and accomplishment. Beyond that, the passion, the authority and the confident spirit in Jay’s music speak impressively for themselves. I think that a broad, young audience is about to make this remarkable discovery.“ In addition to the unprecedented Masterworks agreement, Greenberg is the youngest composer ever signed to an exclusive contract by IMG Artists. Recently, the Orchestra of St. Luke’s announced it has commissioned Jay Greenberg to write a one movement violin concerto for Joshua Bell to be premiered at Carnegie Hall on October 28, 2007. Born in 1991 in New Haven, Connecticut, he began playing the cello when he was three years old, and he later taught himself how to play the piano. His first formal lessons in theory and composition began when he was seven; three years later he enrolled as a scholarship student in both the college and pre-college divisions of New York’s Juilliard School of Music. Greenberg’s teachers there include Samuel Zyman, Ira Taxin, Samuel Adler, Ernest Baretta, Lance Horn and Kendall Briggs. “How do you react when you encounter an early compositional gift so extraordinary that you can’t even begin to comprehend it?” Samuel Zyman, who has taught music theory to Greenberg, wrote in The Juilliard Journal in 2003. “How do you explain to others a compositional talent so exquisitely developed at such an early age that you can barely believe it yourself? What would you do if you personally met an eight-year-old boy who can compose and fully notate half a movement of a magnificent piano sonata in the style of Beethoven, before your very eyes and without a piano, in less than an hour? How do you let the world know that the same boy, at age 10, composed a probing, original viola concerto in three movements, fully orchestrated, in just a few weeks?” The public first heard Greenberg’s remarkable story in a 60 Minutes interview in 2004, in which Zyman said that Greenberg’s potential puts him in the company of music’s most illustrious young prodigies – Mozart, Mendelssohn and Saint-Saëns. Greenberg’s works already have been played by orchestras across the United States including the Pittsburgh and New Haven Symphony Orchestras. A premiere performance of the String Quintet at the Library of Congress in Washington, DC is being planned for later this year. His Overture to 9/11 received first prize in the composition competition at the Juilliard pre-college division in 2003, and he won ASCAP Foundation Morton Gould Young Composers awards in 2004, 2005 and 2006. Among Greenberg’s most recent commissions are Short Stories for Tenor Saxophone, Percussion and Orchestra, performed at Alice Tully Hall by the Metropolitan Youth Orchestra of New York, and Hexalogue for Winds and Piano, premiered at the Swannanoa Chamber Music Festival. |
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At the age of 14, American composer Jay Greenberg already has built a substantial and ever-expanding catalogue of original works that explore and renew the traditional forms of classical music, from solo piano pieces and sonatas to full-scale symphonies. In addition to his achievements, his burgeoning career is already yielding some remarkable “firsts” – he is the youngest composer ever signed to exclusive contracts with IMG Artists and with Sony Classical. The first CD release under his distinctive new agreement with Sony Classical will include the premiere recordings of his Symphony No. 5 – with José Serebrier conducting the London Symphony Orchestra – and his Quintet for Strings, with the Juilliard String Quartet and cellist Darrett Adkins.
The public first heard Greenberg’s story in a 60 Minutes interview in 2004, in which Samuel Zyman – who has taught literature and materials of music to Greenberg at the Juilliard School of Music – said that young composer’s potential puts him in the company of Mozart, Mendelssohn and Saint-Saëns, music’s most illustrious young prodigies. Greenberg’s works already have been played by orchestras across the United States including the Pittsburgh and New Haven Symphony Orchestras. A premiere performance of the Quintet for Strings at the Library of Congress in Washington, DC is being planned for later this year.
Recently, the Orchestra of St. Luke’s announced it was commissioning Jay Greenberg to write a one movement violin concerto for Joshua Bell to be premiered at Carnegie Hall on October 28, 2007.
“How do you react when you encounter an early compositional gift so extraordinary that you can’t even begin to comprehend it?” Zyman wrote in The Juilliard Journal in 2003. “How do you explain to others a compositional talent so exquisitely developed at such an early age that you can barely believe it yourself? What would you do if you personally met an eight-year-old boy who can compose and fully notate half a movement of a magnificent piano sonata in the style of Beethoven, before your very eyes and without a piano, in less than an hour? How do you let the world know that the same boy, at age 10, composed a probing, original viola concerto in three movements, fully orchestrated, in just a few weeks?”
Typically of a young artist, Greenberg has little to say in explaining his creative process or describing his music. In conversation, his self-confidence and his intelligence are leavened by a sharp, playful sense of humor – the perfect means of deflecting questions about his methods. He has recently begun maintaining a catalogue of his works dating from 1999, when he began to apply himself seriously to composing. Greenberg believes there were a few earlier pieces of which he has no record, but his catalogue is already rich in full-scale compositions – in addition to five symphonies, more than a dozen piano sonatas and a wide variety of solo piano pieces, he has composed string quartets and other chamber music, three piano concertos, and concertos for the violin and the viola. In 2001, he began using a computer for composing, which enabled him to work at a much faster pace.
“I don’t usually work them out on paper,” Greenberg says simply of his composing process. “They tend to work themselves. Generally, fairly quickly.”
Born in 1991 in New Haven, Connecticut, Jay Greenberg began playing the cello when he was three years old, and he later taught himself how to play the piano. His first formal lessons in theory and composition began when he was seven; three years later he enrolled as a scholarship student in both the college and pre-college divisions of New York’s Juilliard School of Music. Greenberg’s teachers there have included Zyman, Ira Taxin, Samuel Adler, Ernest Baretta, Lance Horn and Kendall Briggs. He says he has also learned from the writings of contemporary composers, such as Stravinsky’s Poetics in Music and the Norton Lectures that Leonard Bernstein delivered at Harvard University in 1973, as well as Aaron Copland’s essays and texts on music and composition.
His Overture to 9/11 received first prize in the composition competition at the Juilliard pre-college division in 2003, and he won ASCAP Foundation Morton Gould Young Composers awards in 2004, 2005 and 2006. Among Greenberg’s most recent commissions are Short Stories for Tenor Saxophone, Percussion and Orchestra, performed at Alice Tully Hall by the Metropolitan Youth Orchestra of New York, and Hexalogue for Winds and Piano, premiered at the Swannanoa Chamber Music Festival in North Carolina.
| The Associated Press Sits Down with Jay Greenberg | |
| Jay Greenberg has already composed more than 100 musical works, including five symphonies, 17 piano sonatas and three piano concertos. And he's only 14 years old.
In terms of output, he's more than halfway to Beethoven's magic number of nine symphonies, 32 piano sonatas and five piano concertos. Fate knocks at the door of Beethoven's Fifth Symphony. Fate — in the form of Sony Classical — knocked on Jay's door and recorded his Fifth Symphony, written when he was 12. The work, played by the London Symphony and conductor Jose Serebrier, is on Jay's first commercially recorded CD, "Symphony 5 & Quintet for Strings." The album, released in August, also features the Juilliard String Quartet and cellist Darrett Adkins. Jay has been compared to the child geniuses Mozart and Mendelssohn by some highly respected figures in classical music, including the violinist Joshua Bell and the composer Samuel Zyman. But his curiosity extends beyond music. This summer, he studied filmmaking in New Haven, Conn., and participated in a two-week program in Princeton, N.J., studying forensic science, philosophy, military strategy and digital photography. In September, he enters 12th grade. He hopes to study film, philosophy, math and chemistry in college. In an interview with The Associated Press, Jay gave insight into his remarkably creative mind. AP: How do you get an idea for a piece of music? Jay: It comes to me. Usually it chooses the most inconvenient moment to do so, when I'm miles from the nearest sheet of paper or pen, let alone a computer containing music software. AP: When you compose, what is your technique? Jay: I sit down and start writing. AP: And it just flows out? Jay: Generally. In the past it just used to flow out and I'd leave the piece as it was. But after a while I found out that sometimes some of my earlier pieces lacked a coherent structure ... or sounded very strange or ... were plain impossible to play. The first piano concerto, for instance. I wrote parts for the horn that go about an octave higher than the horn can possibly play. AP: I got a sense of Bartok in the quintet. What composers influence you? Jay: My main influences from both the writings and music are — my own three B's, which are Bach, Bartok and Bernstein. ... And then also Prokofiev and Stravinsky, Aaron Copland and a few others. AP: Your Fifth Symphony seems operatic. The beginning has this mysterious motif, almost like John Williams' "Jaws." What were you trying to express? Jay: I don't know if I was thinking of anything in particular. ... I was kind of bored, actually, to be honest. I was in the middle of a history class and we were basically supposed to be taking notes on something I already knew, so I was just sitting there staring at a map when suddenly I remembered that I had some music paper in my backpack. So I pulled it out and started writing the first page of Symphony Number 5 — in piano reduction. AP: How long did it take? Jay: From the beginning of October until Election Day I think. I was working mostly at school — during that class and one of my free periods later on. That's about an hour and 20 minutes a day. AP: So instead of studying your lessons you were composing? Jay: During some of the lessons I paid attention — the ones before tests and quizzes and things. So it wasn't every day — most days. AP: The third movement in particular is very beautiful. You described it in your liner notes as a mathematical formula that has no beginning and no end. Jay: Yeah. It just sort of comes out of nothing and goes up to a climax that it doesn't quite reach and then descends back down to nothing, except it isn't exactly nothing because it leads immediately into the next movement. AP: Why did Sony start with your fifth symphony instead of your first? Jay: I selected it because they wanted a big orchestra piece. AP: Where do you see yourself in 20 years? Jay: In 20 years I see myself about 34, 35 years old, and I'll probably be on the planet Earth unless they started offering private spaceship rides to the moon. AP: Will you still be composing? Jay: I might be. I don't know. I can't really see that far in the future. My crystal ball is not functioning. It's down. Server's down. - Martin Steinberg, Associated Press August, 2006 |
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| Quintet for Strings Reviewed in the Minneapolis Star Tribune | |
All the talk in the music world these days about Jay Greenberg isn't just marketing hype. He is the real thing, as it turns out, a gifted, smart composer of serious concert music, and he's only 14. A fine performance by the London Symphony of Greenberg's Symphony No. 5 has just been released in a pairing with the same composer's Quintet for Strings, performed by the Juilliard String Quintet with cellist Darrett Adkins. The Connecticut native is currently a scholarship student at the Juilliard School. He writes music that is tonal and could be called Romantic, but it's not the kind of lush, imitation-Brahms that we used to hear in the 1970s, nor does it owe anything to Minimalism. It's grounded in a strong sense of structure and a feeling for orchestral color that is vivid and apt, but never gaudy. The symphony, conducted with assurance by Jose Serebrier, opens invitingly with a growling, halting figure that reappears constantly throughout the movement and works in contrast to a sweet theme articulated by a solo flute. The second movement, set off by an ominous beat from a snare drum, is a traditional scherzo, busy and energetic, while the third movement, a Fantasia that seems to be the heart of the work, offers brooding, exquisite lines for solo flute and viola and, as the music gains in tension, rich, muted brass in the manner of Richard Wagner. The finale is noble and exultant in the style of Mahler, but expressed in Greenberg's own voice. As for the String Quintet, in three short movements Greenberg shows his skill at balancing the interplay of his five voices, while giving each of his musicians compelling music to play. What's interesting about these two pieces is the mix of technical skill and an emerging personal voice. To be sure, that voice isn't fully developed. But Greenberg, who already has five symphonies, five concertos and a dozen piano sonatas to his credit, is well on his way. - Minneapolis Star Tribune September, 2006
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| Jay Greenberg Featured in Times-Dispatch | |
| "In an interview, Jay explained that the music just comes into his head. It may happen while he's walking, in school or even during tae kwon do lessons. "Usually it chooses the most inconvenient moment to do so, when I'm miles from the nearest sheet of paper or pen, let alone a computer containing music software," he said. He remembers what his mind plays -- and it's often not just the melody and harmony, but which instrument is playing. "Sometimes it's just a passage," he said. "For instance, I'm walking down and I hear a certain cadence played by two oboes, a bassoon and a didgeridoo. So then I go home, and from that I take more ideas for other melodies and things that will eventually come together to form a complete piece." - Martin Steinberg, AP Read rest of this article here |
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| Jay Greenberg in the New York Times | |
"Mr. Greenberg, who at 12 was working on his Fifth Symphony, received this fleeting mention: “He has mastered the art of orchestration, and his Brahmsian music positively glows in the ears. For him, it is 1904 and anything is possible.” That November CBS profiled Mr. Greenberg on “60 Minutes,” showing him at the Juilliard School, where he was studying composition on full scholarship: a first for a composer, at least in the school’s modern history. Mr. Greenberg’s parents — Robert, a linguist, and Orna, a painter, neither one especially musically inclined — recalled their amazement when their son, at 3, asked for a cello and invented his own form of musical notation. In the years after, he would reveal an uncanny facility in writing out the music that played in his head, already fully formed, and in memorizing scores in a single reading. What’s more, it was said, his mind could process two or three compositions at once, on “multiple channels,” even as he went about normal day-to-day activities."
Read this entire article here |
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| Jay Greenberg In the August Issue of Parade Magazine | |
| Stuff We Think You’ll Like... Parade Picks® Back-to-School Bests (CDs) Compose Yourself Next week, Jay Greenberg—a Rollerblading 14-year-old—will celebrate the release of the first CD of his compositions. The spirited and confident Jay Greenberg Symphony No. 5 & Quintet for Strings (Sony Classical, $19) are performed by the Juilliard String Quartet and the London Symphony Orchestra, and they sound a high, hopeful note for the future of classical music. A former music student at New York’s Juilliard School, the busy composer began playing a cello at 3 and already had written five full-length symphonies by age 12. - August 6th 2006 |
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Notes to the listener:
In this CD I chose to exhibit two works that share structural form and the 6/8 time signature. You will hear East European articulations in the Quintet and echo’s of American Folk music in the Symphony. I pay homage to the music of Leonard Bernstein, Béla Bartók, and Igor Stravinsky along with jazz and other forms of popular music as inspirational guides.
The Symphony #5 is a large-scaled work in four movements. Its overall form is traditional, a standard first movement, scherzo, slow movement, and finale, forming a miniature checkerboard of slow/tragic – fast/jovial movements. The first movement is an Allegro painted in broad brush-strokes and featuring several lyrical melodies and tunes; the first group alone contains no fewer than four distinct and separate elements, a fifth added in the second group, all of which are combined in the codetta section. In this extended sonata-form, the movement fades into silence and nothingness, paving the way for the jovial combination of orchestral blues and tarantella-like dances which form the scherzo that rises out of the same void.
Following the scherzo is a long, mysterious slow movement, the Lento quasi fantasia.
The Fantasia was the last movement to be completed, excluding a few minor technical revisions to the Finale; it is also the most structurally perfect movement in the piece, as it follows a mathematical function, y = 1/x2. The graph of this function is based around the asymptotes of the x- and y-axes; from very close to, but still not quite, zero, it ascends slowly but steadily between the integers of x = 1 and x = 0 to almost touch the y-axis, which it once again fails to reach; this is mirrored across the axis.
While rooted in mathematics, the music strives to elicit emotion; I tried to illuminate the natural beauty of geometry and mathematics; music as a language is capable of expressing both logic (rationality) and emotion (irrationality). This third movement springs from a great well of silence, ascends to a climax it never quite reaches, and then descends once more into quiet – true silence never completely attained. The movement’s form is based on two major themes, a long flute melody and a wind chorale. The themes intertwine in a fugal section culminating in a dramatic climax that fails to resolve. Instead it simply dies away into the tolling of bells as muted strings intone the chorale in the highest register. The chorale has an eerie premonition of the corresponding passage at the end of the entire piece.
Barely before the last chord has died away, the whirlwind finale descends upon us, heralded by brass fanfares. The plethora of runs, scales, arpeggios, and other forms of virtuosic energy comprises the first fifty bars in the first minute of music, during which five different motifs emerge, all of them rapidly coming into prominence, reworked into tapestries of sound and color of the movement. The symphony concludes with a restatement of the chorale tune of the previous movement, fully orchestrated and under the continuing perpetual motion of the woodwinds and strings.
The Quintet shares the overall harmonic and thematic structure of the symphony. Like the first movement of the Symphony, its opening Adagio begins and ends quietly, filled with impassioned drama and featuring a pair of lyrical melodies. The harmony is worlds apart, however: compact and tightly woven, exploring a dense jungle of string writing including overtones, harmonics, and mutes. This was among my first forays into the world of pan tonality, or music with no definite tonal center or established scale.
The second movement is a rhythmically complex scherzo, featuring flighty melodies, pizzicatos, and repeated grace notes that put large amounts of strain upon violists’ fingers; its harmonic fluctuations keep a sense of perpetual motion and restlessness throughout the movement. The finale is a fugal perpetuum mobile, drawing on a wealth of harmonic and rhythmic material as well as string effects to bring the work to a rousing conclusion.
The Quintet describes the three facets of the human psyche according to Freudian theory: the superego, or conscience that restrains the rest of the piece (the Adagio); the ego, in touch with reality, and fulfilling the old adage that “to those who feel, life is a tragedy; to those who think, it’s a comedy” (the scherzo); and the id—the impulsive and instinctual, unconscious and ultimately most gratifying (the Prestissimo).I didn’t actually realize this semi-programmatic facet of the Quintet until after I completed the work.
In these efforts I wish to acknowledge a large number of people without whom this project would not have been possible: my parents, my grandmother’s cat, who first taught me that one must look backwards into the past to go forwards into the future; my management at IMG; David Lai, who spearheaded the operation and had trust in the music which he had never heard before; José Serebrier, for looking through the score of the Fifth Symphony and correcting all of its typos; the LSO and JSQ, without whom we would not be listening to anything at all as we undoubtedly read this; Leon Constantiner, for donating the computer with which the score was written; and my teachers Sam Zyman for believing in me, Sam Adler for teaching me, and Antony John for giving me feedback on my music.
Charles Letourneau
IMG Artists
152 W.57th Street
New York, NY 10010
cletourneau@imgartists.com
