Castronovo's first review from Taminophile

http://www.taminophile.com/2012/11/napoli-napoli-napoli.html THURSDAY, NOVEMBER 22, 2012 Napoli, Napoli, Napoli! Through the generosity of GPR Records I have once again been afforded the opportunity to preview a CD before its release. This time it is a delightful recording by handsome rising tenor Charles Castronovo, entitled Dolce Napoli: The Neapolitan Songs. Courtesy GPR Records In recent years Mr. Castronovo has risen from obscurity to the ranks of singers at the very best opera houses in the world, including the Metropolitan Opera, Berlin State Opera, Bavarian State Opera, Royal Opera House Covent Garden, and more. It's no surprise with his beautiful singing and good looks. I will freely admit that Neapolitan songs are not my area of expertise, but I can say without hesitation that young Charlie, as he insists in the liner notes we call him, sings these songs with consistently beautiful tone and deep feeling. It is clear songs like these are part of his upbringing, and that he loves the genre and the culture. What is a Neapolitan song, ask the liner notes by Charlie himself. Although he references a mid-19th century song contest, one could easily imagine some of these songs predate that time. These are the folk songs, music hall songs, pop songs of ages ranging from the 1830s through the mid-20th century. They sing of the same topics as nearly any songs--love won, love lost, jealousy, and even the occasional song that is not about love! Neapolitan songs have been recorded from the early days by tenors like Enrico Caruso, Beniamino Gigli, and Tito Schipa, and have become popular to many for their universally understood stories and their beauty. This CD includes 20 songs with a wide range of character. I can't describe them all, of course, but will gladly discuss a few favorites. The most familiar tune on the CD is Santa Lucia, the well known song to, as you might guess, Santa Lucia, sung by the fishermen who enjoyed her patronage. Malfemmena, about the two sides of love, passion and pain. The notes state this is among the most recent of the songs, written in 1951, and was instantly made into a hit by Neapolitan singer Totó. U Sciccareddu is a song of love, dedicated to the poet's donkey! A bonus track, the only Sicilian song on the CD, this song highlights the Sicilian talent for irony, making a sad song lively and a happy song sound sad. Io, ‘na chitarra e ‘a luna! is one of several songs that features English verses by recording producer Glen Roven. The poet sings of how lovely and complete his life is with moonlight and his guitar, and maybe a love, should the heavens send him one. O surdato ‘nnammurato is a lively song that describes a WWI soldier away from his love, thankful that she thinks of him alone. Charlie relates this to his own grandfather, who was a prisoner of war in WWII. This is a beautiful CD. I've had it on random repeat play for hours at a time recently while working at home, and never tired of it. I would recommend it for afficionados of Neapolitan songs and lovers of good singing. Don't miss Charlie's shows featuring these songs at 54 Below on Dec. 1, Dec 6, and Dec 8. I'll be at the Dec. 6 show! (Because, well, Dec. 8 is your intrepid reporter's birthday.) Click here.

Taminophile writes about Racette!

A bel canto bear in a verismo world Using the Taminophile Amazon store at the right as a starting point for any purchase supports this site. WEDNESDAY, SEPTEMBER 19, 2012 Diva on Detour I’m a fan of Patricia Racette, from the days of old when I was in the chorus of a regional opera company that hired Miss Racette to sing Nedda. I’ve been pleased to see the success she has attained in the years since then. Although I haven’t been able to attend any of her live performances since those days in the opera chorus, I’ve seen quite a number of YouTube videos that leave no doubts about her talent and magnetism. Courtesy GPR Records Imagine my delight when the kind folks at GPR Records invited me to Pat’s (we’re on first-names basis now) cabaret performances last spring, which were to be recorded for later release on a CD. Alas, I was forced to decline that invitation—I foolishly chose to fulfill commitments I had made previously. What a dolt I was! When the same kind folks sent me a pre-release copy of the CD based on that show, I could hear that it was an event I would surely have treasured in memory for a long time. Fortunately, a great amount of that feeling comes across in the CD, with Pat’s fine vocal stylings of a program of well-chosen standards and charming patter with the audience. Very fine music director and pianist is Craig Terry. This is where I might expound upon the folly of crossover albums, because I don’t like so many that are out there. While it’s possible for a singer to do both opera and cabaret/musical theater effectively, far too many don’t bridge that gap very well. I’m happy to say Pat sounds perfectly appropriate stylistically in nearly all instances. She can use a healthy belt and a healthy mix of head and chest voices like one hears from cabaret and musical theater singers. In fact, the only misstep vocally I hear is when she reverts to amore “legit” sound for "La vie en rose", the last song in an otherwise effective Edith Piaf medley. I’m also happy to report one can understand every word she sings—a major accomplishment. The actual songs? An interesting selection of standards, performed very well by Pat and amazing music director Craig Terry. One of my favorites was the Edit Piaf medley I mention, which included "Milord", "Padam", and "La vie en rose." As an experienced and well-educated opera singer, of course Pat has excellent French, and she performed the songs with a gusto and an understanding of the texts one would expect from an artist of her stature. She imitated just the right amount of Piaf’s vocal mannerisms and cabaret-style French—any more would have been excessive, and any less would have left one wondering what in the world she was doing. Another favorite was “Here’s That Rainy Day”, which Pat referred to as her shower song. I also quite liked the way Pat contrasted “The Man Who Got Away” with the humorous song “To Keep My Love Alive”, which tells of men who would have been lucky to get away. In her introduction to a set of songs that told a bit of a story, Pat talked about how she always sings about women unhappy in love—throwing themselves off parapets, dying of consumption, running themselves through with swords, and so on. In these songs the effect was a bit more subtle—no quick relief coming from a desperate act. In “You’ve Changed”, the singer wonders why things are not the same as they once were. In “Guess Who I Saw Today”, she sings of having seen her man on a date with another woman, and in “Where Do You Start?” she sings of putting together a newly single life. In “So In Love” she sings of remaining in love after separating. Quite an effective set. It was obvious Pat had spent a lot of time living with the lyrics of all these songs, as she portrayed a deep intimacy and urgent emotion in them all. I won’t describe every song, but I will say this is a recording I enjoyed very much, and I highly recommend it. [Actual order information to follow. But do click on my Amazon store and buy stuff to help support this site.]

Doc Rocks

What do James Taylor and The Beatles have in common with the Head of the National Institute of Health? Quite a bit, I recently found out when I was hired by legendary financier and philanthropist Michael Milken as Musical Director for a concert during the Celebration of Science, a major event in Washington, D.C. The Celebration was a three-day gathering of the world’s most brilliant and influential medical researchers and public officials, members of Congress and heads of universities. In panels and talks, they gathered to share ideas and deliver the message that America should recommit itself to bioscience. On the Saturday night of the Celebration, there would be a Kennedy Center event featuring patient stories, talks by political leaders and performances by Kenny Edmonds, Stevie Nicks and Melissa Manchester. I would arrange, conduct and produce the music for the live event and the subsequent TV broadcast. At an early meeting Mike told me his idea (every show Milken produces -- whether it be for the Prostate Cancer Foundation, the Milken Educator Awards or FasterCures -- is centered on one of Mike’s “ideas”): “So many of these amazing doctors are musicians,” he said, “I want you to put together a band of doctors.” Just because a doctor can map the Human Genome, doesn’t mean he can play the guitar well enough to perform in front of 1,000 people, not to mention a televised audience of millions. (Conversely, I don’t think anyone would want me to take out an appendix.) Instinctively I started to say to Mike, “But what if…” Mike smiled his Cheshire Cat smile. I didn’t even bother to finish my sentence. I was going to put together a band of famous doctors and they were going to play live at the Kennedy Center. As he disappeared to another meeting Mike called back over his shoulder, “Call Francis Collins. He plays guitar.” I’m not a scientist or even particularly interested in science, but I did have cancer (in remission, thanks docs!) so I knew that not only is Collins the head of the NIH, but he was also the man who led the mapping of the aforementioned Human Genome. I simply couldn’t bring myself to pick up the phone and say, “Hey Francis baby, let’s jam.” I sent an email. Within seconds, my phone rang. “Hello Glen, This is Francis.” We talked for a half hour about music and how much music means to him and how he couldn’t wait for this gig. All the time I was talking I tried not to imagine the day that President Obama must have callEd Francis to inform him of his nomination to be head of the NIH. He gave me a few of his colleagues to call, people like Dr. Steve Libutti who played drums. Libutti’s day job is Director of Montefiore Einstein Center for Cancer Care and he was one of the pioneers of regional and targeted cancer therapy as well as an internationally recognized surgical oncologist and endocrine surgeon. Jonathan Lewin, Francis continued, played a mean sax and his day job was as Radiologist-in-Chief at John Hopkins Hospital, with secondary appointments as Professor of Oncology, Neurosurgery and Biomedical Engineering. I loved talking to them but kept thinking, I hope these guys can swing. I made more calls and everyone was thrilled to talk, probably because I was the only one calling that day, or that year perhaps, who was not fighting a terminal disease or asking about the side effects of a particular chemo. Or calling to cut their funding. I just wanted to know if they could read chord changes. I left a phone message for John Burklow, Director of Communications for NIH. “If I’m out of the office, and this is a reporter who needs me immediately for a comment, please call my cell phone.” He had to be glad it was me calling about his sight-reading abilities and not 60 Minutes calling about some new cancer drug that causes a third eye to suddenly appear. Once everyone was in place, I discovered I had four keyboard players, five guitars, one singing bass player, one drummer, one flute player, one harmonica, two trumpets and a sax. Not exactly a standard band configuration. I now had to figure out what the hell they were going to play. Mike was very clear the concert had to serve the greater purpose of research and FasterCures, so the doctors or Rock Docs as I was now calling them (Francis didn’t like Amino Acid) couldn’t just play the songs from Oklahoma! I concocted a medley of You’ve Got a Friend, Here Comes the Sun, and Help, songs I thought the doctors and audience could relate to. My partner Irwin Fisch and I started writing for four keyboard players, five guitars, one singing bass player, one drummer, one flute player, one harmonica, two trumpets and a sax. We didn’t have a clue as to the level of musicianship, let alone if they could sing. They said they could play, so I trusted them. If you can’t trust a doctor, whom can you trust? I made demos of the music with me singing the parts and sent them to the Roc Docs. One of the guitar players dropped out immediately. He said he would be much happier (and I would be much happier) to sit in the audience. Francis, who struck me as a winning combination of James Taylor and Jimmy Stewart, arranged for the local DC doctors to get together over Labor Day and run through some of the music as a pre-rehearsal rehearsal. I mentioned this to Larry Lesser, Mike’s producer, and before I could get out, “Should I…?” he said, “Go!” On Labor Day, I met all these brilliant people in Francis’s living room and frankly, I hadn’t encountered such enthusiasm in my bands since I was a kid. No “when is the break?” “How much is this paying?” “Who’s got the weed?” They were dying to do this. Although they were all completely terrified. They tried to smile and joke, but I know terror when I see it. They were on the high diving board and they really could only dog paddle. They were getting into a Ferrari and didn’t quite know how to use a clutch. They had diligently practiced the music I sent. A few surprises: the keyboard players asked me to write out the chord notes as opposed to the chord symbols, something no high school player would ask, but fair enough. High school players can’t cure cancer. Most of The Players were uncomfortable with just their own music parts and wanted the words written in. Again, fair enough. One musician asked if he should bring a music stand. I gently said, “Do you ask if you should bring a scalpel to the operating theater.” “We will supply music stands. And even lights.” They started to play. Francis has a lovely, sweet, folk-type voice and we ran through You’ve Got A Friend. It wasn’t half bad. Some of the chords were misread, the rhythm was all over the place, the bass player forgot to bring the music, so he didn’t have a clue as to what I was talking about when I said let’s start at bar five, but all in all, I was thrilled. They must have seen my facial muscles relax, because they relaxed as well. It was a complete role reversal. All of a sudden, I was the doctor. And they were the patients anxiously awaiting the results of their test. Would they live? (That is, play the concert or be fired? They would play.) Was it fatal? (No, it was not. We’d rehearse and make it great.) Would they need more treatment (Oh, yes. But it won’t be as scary as the first time.) We moved on to Here Comes the Sun. John Tisdale, who is on the way to curing sickle cell disease, told me he could sing the lead. While playing his bass, his light, airy baritone wafted through Bethesda and Dr. John Tisdale became the Fifth Beatle. I called Milken and said, “It’s gonna work.” Milken said, “Told you!” We had a full rehearsal scheduled for the Thursday before the Saturday show in the cavernous Kennedy Center rehearsal room. No more living room. This is the big time. Finally, all the musicians would be there, the trumpets, the sax. I even brought down three background singers from who have sung for everyone from Bette Midler to Dolly Parton. I thought my Rock Docs were going to explode with joy when they heard my pros sing along with them. They were now the center of the Oreo surrounded by world class cookies. Their playing improved immeasurably. They presence of the pros energized the amateurs, especially Leonard Zon, founder and director of the Stem Cell Program at Boston Children’s Hospital and the first incumbent of the newly established Grousbeck Professor of Pediatrics Chair at Children’s. And trumpet player. In fact, Len was so enthusiastic he insisted on playing the trumpet over everyone’s melody, over everyone’s solo and all the interludes. I gently told him the arrangement needed to build and if he simply played the assigned part, it might sound better. Then I had to tell them the bad news. The Kennedy Center could only give the Rock Docs one hour to rehearse on stage. I could feel their panic suck the air out of the room. The usually very brave, very stoic, very brilliant doctors got very quiet. I, the new resident-in-chief, a bit too cheerfully said we didn’t need more rehearsal and I’d meet them in an hour. They started to pack up all their gear; I gently told them we had stagehands to do that, they didn’t have to carry anything, not even their guitars. I said stagehands were sort of like nurses. Just let them do their jobs or they get very testy. Musically, the on-stage rehearsal went fine. But Larry Lessor came up to me and asked if they were in pain. Their faces were priceless. I’ve never seen terror so well expressed. They looked like they had been painted by Munch. Now, I thought, they know how we feel, lying in a flimsy robe on that gurney waiting to get knocked out and cut open in the operating theater. Larry ran up on the stage and started waving his hands and dancing, all 6’5, three hundred pounds of him. Even that didn’t work. Saturday was show day. It started with an emergency. One of my musicians forgot her anti-depressants; believe me, you don’t want to go into show day if one of the musicians isn’t on her meds. Is there a doctor in the house? Fortunately, yes! I had no compunction in e-mailing the most brilliant doctors in the world for a prescription. I got a response immediately from Wolfram Goessling, day job: Assistant Professor, Depart of Medicine, Harvard Medical School whose laboratory seeks to understand the signals that indicate organ injury and regulate growth and regeneration. Night job: Trumpet player. Wolfram asked for the vital information from my musician and the prescription was there within the hour and my musician was happy, happy, happy. Next emergency: my bass player came down with a virulent rash on his arm. Another e-mail blast. This time Leonard Zon answered and asked for me to take a picture of his arm on my phone and forward it to him. Len then responded and said he’d look at it at rehearsal. At 8:00 PM the show started and my patient/musicians had to fend for themselves. They waited in the green room for Whoopi Goldberg to make their introductions. I decided the Rock Docs should wear lab coats. Just in case the music wasn’t up to par, the visuals would help. But Doc Rock needed no help. The curtain opened, Francis made his Jimmy Stewart-esqe speech and he had the audience eating out of the palm of his hand. Obviously, someone who runs a 30 billion dollar agency knows how to make a speech. You Got A Friend was perfect. Everyone was in tune, Francis rocked the vocal and after the Jon Lewin alto sax solo received spontaneous applause I knew audience was going on the journey with us. I had structured the number with a false ending after Friend. I wanted the audience to think the number was over. So there was a huge ovation and then John O’Shea (Day job: Chief of Molecular Immunology and Inflammation Branch at NIAMS. Night Job: Mandolin player) counted off Here Comes the Sun, and although it was 8:30 PM at the Kennedy Center, the Sun did indeed come out. Tisdale on vocals, aided by the husky alto of Sally Rockey who is in charge of giving out the grants at the NIH, brought the medley to a new high. (I had to wonder if Sally could somehow convince Francis to give ME a grant so the NIH could see the correlation between an artist’s bank account and happiness.) After Sun there was no break. Libutti changed the tempo all by himself (take a bow, Steve, brilliantly done) and the group rocked into a raucous version of Help! The audience was on its feet! And when Leonard Zon started blowing his trumpet solo, the roof of the Kennedy Center flew off. Doc Rock was a sensation and, using band talk (although probably not Doctor-speak) they killed! The operation was a success. The experimental drug got FDA approval. The patient will live to fight again. And of course, Milken was right! It was a great idea. Later that night, 10-time Grammy winner Kenny (Babyface) Edmonds took the stage and spoke before he sang. He said that he had no problem performing after Melissa Manchester or Stevie Nicks or any of the artists on stage, but no one told him he had to play after Doc Rock. He said that was completely unfair and no artist could ever hope to follow them. I heard cheers emanate from the green room when, with a sly smile, Edmonds said, “Maybe I should go to medical school.”. In the hotel bar, where all real musicians gather after a concert, Steve Libutti, Director of Montefiore Einstein Center for Cancer Care/Drummer and I were having a late night drink, going over the events of the night. This peerless doctor has a baby face that would put Kenny to shame, but when he talked about the experience he was positively angelic. He said, “I finally got to live my dream. I opened for Stevie Nicks!” Read more: http://tunes.broadwayworld.com/article/THE-DOCS-THAT-ROCK-by-Glen-Roven-20120919_page2#ixzz26xXXe6ao Page Read more: http://tunes.broadwayworld.com/article/THE-DOCS-THAT-ROCK-by-Glen-Roven-20120919#ixzz26xXQu5ia

Playbill writes about Catherine Zeta-Jones and the Runaway Bunny

Tony Winner Catherine Zeta-Jones Will Narrate New Recording of "The Runaway Bunny" By Andrew Gans 17 Aug 2012 Tony and Oscar winner Catherine Zeta-Jones will narrate a new recording of "The Runaway Bunny," which is based on the best-selling children's classic by Margaret Wise Brown. Advertisement This CD, which will be released by GPR Records Nov. 15, will also feature English baritone Mark Stone singing "Goodnight Moon" and a special guest superstar narrating Poulenc’s "Babar, The Elephant." Zeta-Jones narrates a new piano trio version of the children's tale composed by GPR Records artistic director Glen Roven. "Runaway Bunny" has been performed all over the world, and narrators have included Brooke Shields, Glenn Close, Sandy Duncan, Donna McKechnie, Kate Mulgrew and Phyllis Newman. This piece premiered at Carnegie Hall with the American Symphony Orchestra, with Glenn Close narrating. "Runaway Bunny" was written in 1942 and has been published continuously since that time. "It is such a pleasure to participate in 'The Runaway Bunny' for this recording - it's a wonderful timeless story of free thinking and creativity," said Zeta-Jones in a statement. "I know the importance of music and reading and my hope is that this CD will touch and capture the imagination a new generation." “'Runaway Bunny' and 'Goodnight Moon' are national treasures and many of us remember them from our childhood,” added GPR Records producer and composer Roven. “Having Catherine Zeta-Jones and Mark Stone really solidifies GPR Records’ goal of creating wonderfully new and sophisticated products for children. We're so pleased to be able to honor Margaret Wise Brown with this recording.” For more information visit www.GPRRecords.com.

From Operaobsession about Daniel Okulithc

WEDNESDAY, JULY 4, 2012 New American Art Song If you're looking for something creative and non-jingoistic for festive listening this July 4th, Daniel Okulitch's album of American art song fits the bill. Sets by four composers comprise the album; Okulitch gives them all with vibrant energy. Ricky Ian Gordon's "Quiet Lives" are beautiful and bleak memorials to solitary living on the fringes of cities, or simply on the edge of events. The twentieth-century poets whose work Gordon sets are black and white, male and female, a cross-section of those who live and love in rented rooms. These haunting pieces are succeeded by Jake Heggie's charming "Of Gods and Cats," set to poetry by Gavin Geoffrey Dillard. Okulitch's handling of the texts complements Heggie's playful settings, solemnly depicting the afternoon activities of a cat, whimsically toying with the image of an innocently mischievous infant God. The centerpiece of the album is Glen Roven's "Songs from the Underground," a cycle of fifteen songs setting the vivid language of poets from John Milton to William Carlos Williams and beyond. The selection and sequencing of the texts gives the rich poetry unexpected resonances, and connections sometimes humorous (Spike Milligan's "Teeth" to Williams' "This is just to say") and sometimes profound ("Ozymandias" to Paradise Lost to Grace Nichols' "Like a Beacon.") Even where textual connections seem tenuous, echoed chords or similar harmonies suggest relationships; a rich and intriguing set with songs for mourning and dancing. Lowell Liebermann's "Night Songs" is a tender trio of lullabies or nocturnes to be whispered between lovers, dreamy and musically suggestive, using the poetry of Randall Jarrell, Rilke, Graves, and the undervalued Mark Van Doren. The concluding "bonus track" is Jake Heggie's setting of Robert Browning's "Grow Old Along With Me!" joyous and earnest both, given with the same exuberant warmth that marks the rest of the album.

Patricia Racette piece June 22, 2012

Diva on Detour April 5, 2012 By John Thomas Dodson Leave a Comment Photo by Scott Wall Most people know soprano Patricia Racette as one of the reigning operatic divas of our time. She appears around the world singing signature roles like Jenufa, Madama Butterfly Violetta, Desdemona, Tatyana, Liu and Micaela – to name just a few. # With such a career in the opera house, it might surprise many to hear that she is currently engaged in a project recording cabaret songs in a live studio setting. The CD, which will be titled Diva on Detour, will be released on the GPR label later this spring. With songs by Stephen Sondheim, Cole Porter, George Gershwin, Edith Piaf and many others, she has chosen a mix that draws a laugh one moment and a tear the next. Accompanied by the marvelous pianist, Craig Terry, this duo been performing together for several years, and the familiarity they share is evident throughout. I heard one of the sessions and was astounded by Ms. Racette’s capacity to live every word, every note of the songs in a way that was dramatic and communicative yet completely in the style of American Popular Song. She was careful to color her voice to the genre, avoiding vocal placements appropriate to opera but which would fail miserably in this particular music. At times I could have been listening to a singer in a darkened club setting, but where the average crooner leaves me wanting more depth of experience, this artist delivered all of the emotional goods. Patricia Racette takes her expressive skills from the world of opera and applies them to the cabaret repertoire with a result that is, in a word, magical. She has an amazing capacity to take her listeners well beyond what we think we know about a familiar tune – turning a tin can alley ditty into a veritable map of the soul. This isn’t a cross over album. Rather than hearing a famous soprano trying to sing popular songs, you’ll hear a great artist who has a range of expression far wider than most of us might expect. You can preorder this album on GPRrecords.com. I know that, at least for me, Patricia Racette and Craig Terry just made my gift shopping for this year a LOT easier.

Where I like to Conduct, a magazine piece about me!

Classical Artists-QAmbassador Posted 2012-05-06 Glen Roven/Photo: Ahren R Foster Glen Roven-Conductor "I wish I had a more exotic answer to this question: Bangkok, St. Petersburg, Kuala Lumpur. But the fact is, I love performing in New York City, my home town. And more than anything I love performing at Carnegie Hall. Of course it’s one of the most acoustically perfect halls in the world: violins never sound as lush or flutes as sweet, that’s a given. But it’s more than the mere brilliant acoustics. It’s the history, it’s the legendary status, it’s just…well, it’s Carnegie Hall. Before my debut, I was fortunate enough to have performed in many of the world’s most prestigious venues; I even conducted four Presidential Inaugurations on the steps of the Lincoln Memorial. So I was a bit blasé about the concert. But then I stepped on the stage and the whole Carnegie Hall legend washed over me like a tsunami -- I almost swooned. There I was, little me, standing on that stage, getting ready to conduct my Violin Concerto; there in front of me was that auditorium; there behind me was the legendary ornate quasi-rococo baroque/classical wall ornamentation. And there was the iconic conductor’s podium with its thick, gold-barred surround to prevent even the most athletic conductor (Lenny?) from tumbling into the audience. I regained my composer, said hello to the ghosts of Mahler and Tchaikovsky, and stepped up to the podium. So that’s what all the practicing was for!" Glen Roven, a four-time Emmy winner, has conducted The Israel Philharmonic, the National Symphony, the Seattle Symphony, the Hollywood Bowl Orchestra, The Munich Philharmonic, The Radio Luxembourg Orchestra, The American Symphony, as well as many others. Roven has produced for Julie Andrews, Kathleen Battle, Placido Domingo, Renee Fleming, Aretha Franklin, Kenny G., Whitney Houston, Michael Jackson, Catherine Zeta-Jones, Quincy Jones, Kermit the Frog, Patti LaBelle, Liza Minnelli, Diana Ross to name a few. The conductor is also the co-founder of GPR Records, along with Peter Fitzgerald and Richard Cohen, issuing Broadway, Classical, Spoken Word and Children's Music.