"I have never been known for being brilliant at anything, and with good reason. However, I am genuinely passionate about many things. Music has always been a part of my life and I have devoted a major portion of my life's energies to learning to play the violin and cello. Not being brilliant requires an extra meaure of time and devotion.
I first met Chris Bradley in the fall of 1974, (or was it 1975) . He and I have played with a variety of musicians in numerous situations on various occasion. My collaborations with Chris and Chadwick Martin date from the begining of 1998 (or was it 1999). We flirted briefly with the rags of Scott Joplin. After a stern stern rejection and a slap in the face we entered into our fabulous "Corelli Period" which will, at some future date, result in a triumphant world tour, a DVD, a docu-drama, and of course a lovely T-shirt.
Currently the trio is concetrating on music for piano, violin, and cello. Chad has also been composing original works and Chris and I continue to work on a series of duets for two violins and duets for violin and cello."
Although he dabbled with many different stringed instruments from an early age, Mr. Bradley didn't take up the violin until the advanced age of 18. His earliest influences were Vasser Clements, Joe Venuti and Henryk Szeryng,
His early training took place in the early 1970's in an abandoned pickup truck by the shore of Lake Michigan, with a candle on the dashboard and a book of scales on his lap. More advanced studies were pursued later in an empty silo outside of Colchester Illinois.
His checkered musical career has included stints with a variety of unmemorable groups, including Heaven's All Stars, the Often Bach Quartet, the Skinny Gypsies, and with Ken Sculley and Bob Mortensen. He was a founding member of the elusive and legendary Montclaire Augmented String Ensemble and Collapsible Chamber Orchestra.
At his present rate of developement, Mr. Bradley fully expects to be a somewhat late-blooming viloin prodigy by about the age of 109.
Chadwick Martin was born in an Anazazi ruin high in the New Mexico mountains, to a Taoist and his girlfriend on the third day of the seventh month, in the year of the chipmonk. The first two years of his life were spent traveling the world, hanging happily in a hammock slung between his parents as they walked over mountains and through the plains.
As Chadwick's fourth birthday approached, tragedy struck. In some remote, unknown country he was stolen from his parents and sold for child labor. Just two weeks into this forced occupation, his right arm was severed in an industrial accident. His arm was never seen again.
As he was no longer any good for labor, Chad was again sold, this time for science to a man who was to become his savior, mentor, and friend, Steve Austin. Mr. Austin was researching artificial limbs and has been keeping Chadwick outfitted with the latest bionic arms ever since. Mr. Austins love of music led him to use the piano as a training mechanism, and as a measure of his improving technologies. This is how the world has come to know the electric, eclectic music of Chadwick Martin.
Beethoven's Opus 11 was originally written for piano, clarinet and cello in 1797, with an alternate version which substituted the violin for clarinet. The work became known as the "Gassenhauer" or "street song" because the last movement is based on a popular song of the time. (The name of that tune is "Pria Ch'io l' Impegno" by Joseph Weingl, for those who would like to sing along.) .
The "I Ching Pa Kua" was composed using a system of harmony and rhythm developed by Chadwick that relates the symbols and binary code of the ancient Chinese text the "I Ching" to the 12 tones of modern western music. The five movements depict the forces of nature according to the Pa Kua, the I Ching's arrangement of the eight forces of nature into opposing pairs.
"Horizon" is a minimalist work inspired by memories of flying, chasing the sunset across the Great Plains. Ceaseless similarity provides a backdrop for constant subtle change, suspending time with continuous movement.
Astor Piazzolla was born in Argentina in 1921. Early on , his family moved to New York City, where he was to spend his early years. He later went to Paris to study piano and composition. By the mid-1950's, Piazzolla was back in Argentina playing the bandoneon and composing 'Nuevo Tango' for his own ensemble to play. This new tango music was more complex than traditional tango, and was aimed at the concert hall rather than the ballroom. The two pieces presented here show the contrasting moods and intricate interplay of Piazzolla's writing.
Check out the artist's website:
1. Opus 11, Allegro Con Brio
2. Opus 11, Adagio
3. Opus 11, Theme and Variations
4. I Ching Pa Gua, Heaven and Earth
5. I Ching Pa Gua, Wind and Thunder
6. I Ching Pa Gua, Mountain and Lake
7. I Ching Pa Gua, Fire and Water
8. I Ching Pa Gua, Earth and Heaven
11. Primavera Portena