Novel about Paganini beats books on Biber, Khalifa

Here is --> an amusing news blurb about my mother's novel (based on the life of Paganini), which I edited and revised:  http://janusliteraryagency.blogspot.com/2012/12/paganini-tops-bieber-khalifa.html .

Three Recent Interviews With Violinists!

I have written three interviews with violinists for the newsletter of Stay Thirsty Press, publishers of Paganini's Fire.

The interview with Alexander Markov can be found at:

http://www.staythirstymedia.com/201209-073/html/201209-cavallaro-markov-int.html

The two-part interview with Stephanie Chase is reached thusly:

http://www.staythirstymedia.com/201211-075/html/201211-cavallaro-chase.html   and http://www.staythirstymedia.com/201212-076/html/201212-cavallaro-chase2.html

Finally, the interview with Joshua Bell can be accessed via
http://www.staythirstymedia.com/201302-078/html/201302-cavallaro-bell.html 

These were all most enjoyable, and well received.  

Cavallaro Music for Winds Has Been Published, and is also on Youtube!

Forton Music has released three volumes of my music, along with a posthumous volume of my father's.  Available now are my:  (1) Sonata for Oboe (or Flute) in a minor, Op. 1; (2) Three Songs Without Words for Flute or Oboe,  Op. 2; and (3) Three Pieces for Cor Anglais, Op. 3 -- along with Three Pieces for Oboe or Flute, Op. Posth., by Alfonso Cavallaro.  The link to the publisher is:  http://www.fortonmusic.co.uk/Files/doublereedcatalogue.htm . 

Some (alas, not all) of these can also be heard on my Youtube channel at the following url:  http://www.youtube.com/channel/UCimiO7ycp83KIsOZYyxJzdQ .

I am profoundly grateful to Forton Music for the wonderful opportunity they have afforded me.  I devoutly hope that my own music, which adheres to eighteenth and early nineteenth century harmonic idiom and style, will inspire other composers to return to our musical roots!

The Ironic Story of Alfonso Cavallaro’s Forthcoming Publications

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Here is that true story from the family saga.  In 1942, my father submitted his “Serenade, “Tango,” and Theme, Variations, and Finale for publication to Carl Fischer Music.  He was advised that the latter – a magnificent composition, in my opinion – could not be considered at the time, because it was too difficult and would probably not generate a reasonable number of sales.  The publishers did accept the two shorter works, although they also requested that he agree to accept responsibility for distributing a set number of them himself (not an uncommon practice in the industry).  My father, who had a good number of private students, was not upset about the latter clause, but he was furious about the rejection of his finest composition for violin, so he declined the offer. 

Please fast-forward seventy years.  In 2012, I submitted the same three works to Broadbent and Dunn.  I have, of course, been overjoyed by their acceptance of the “Serenade,” and “Tango,” and I was not surprised that they wish to hold the major work in abeyance – at least long enough to see whether there is any interest in the composer’s shorter pieces.  This is certainly quite reasonable, and I have not even been asked to purchase any copies.  

I suspect that if my father were alive, he would be quite satisfied with my decision.  I certainly hope so!

Music For Winds Under Editorial Revision

I was thrilled to receive a four-volume package from Forton Music this week.  The texts were "preview" copies of the music that will be released in early 2013, and I have eagerly begun to edit -- carefully!

This process has led to an interesting realization.  While readers routinely encounter -- and overlook or forgive -- a few "typos" in a published text, musicians simply cannot indulge in such a luxury.  Indeed, if a novelist writes about how a character  "had gone to Paris last spring" and misspells the verb (e.g., perhaps with an extra "n"), no one will misinterpret what the author intended.  In fact, many readers will be unaware of the error!  However, if music is published with a "sharp" where a "flat" was needed, or with a note misplaced on a given space or line, the sound will be completely different than what the composer wished to convey. 

Naturally, I shall endeavor to do as accurate a job as I possibly can.  [In truth, I'd rather spend my time creating more music!]

More Cavallaro Compositions Accepted for Publication

Blogging on this forum for the first time in over three months -- yes, it has been a beastly long semester at the college! -- I feel almost completely out of touch.  Nevertheless, there is good news to report!

I have recently signed contracts with Broadbent and Dunn for my other violin work, the "Raindrops" Fantasia for Violin and Piano.  This will apparently become my Opus 5!

In addition, I was thrilled to learn that the same publishers will also release Alfonso Cavallaro's charming "Serenade" and "Tango," a pair of concert pieces for violin and piano originally slated for publication in 1942!  [Now THAT is a long story, best left for another blog!]  These will become his second Op. Posth.

Meanwhile, I have digested some more sobering news about the music industry. Unless one's piano music is routinely performed by "big name" artists, and unless orchestral music is finding its way to the programs of leading orchestras, publishers simply cannot afford the financial risks involved.  Thus, while all of my music for winds and all of my violin music will be released, none of my piano music will see the light of day.  Similarly, my father's orchestral piece -- certainly a fine work -- will not get published.

That said, however, there may be more publications in the near future.  Stay tuned!

Cavallaro Compositions Set For 2013 Publication!

I have recently received exciting news from two UK publishers -- Forton Music and Broadbent & Dunn.  Forton Music will release my Sonata for Oboe (or Flute) and Piano, Three Songs Without Words for Flute (or Oboe) and Piano, and Three Pieces for Cor Anglais and Piano, as well as three arrangements of my father's songs ("Far Away," "Lullaby," and "Tears") for oboe/flute and piano.  Broadbent & Dunn will release my Sonata for Violin and Piano, and they have also invited me to submit other music for strings (my own and my father's) for consideration.

Needless to say, I am absolutely ecstatic about these developments.  They also touched off a flurry of musical activity, including composition of the last two pieces for English horn ("cor anglais").

I am profoundly grateful to both publishers for the wonderful opportunity they have granted me.  I also hope these acceptances are a harbinger of bigger and better things to come in the future!