What 9/11 Family Members and Others Have Said about “Lament and Restoration” "I have a hard time with certain music because it brings a lot of tears, but this was wonderful. I can hear (Ron Wasserman’s) message of shock, anger, sadness, questioning and acceptance through (Alison’s) playing." Robert J. Fialko, father of 29 year old 9/11 victim Jennifer Louise. "It was very spiritual and helped me in the long-term healing process; I was coming for Paul (cousin who died in the attacks). He would have appreciated this, too." Lisa Beatini. “‘Lament and Restoration’ seems to be an exceptionally clear and accurate tone poem. I hear elements of reverie, happy memories, shock, stress, horror, confused unfocused desperation, indecision, calm, hope, somewhat uncertain initiation of action, and movement toward resolution. These various elements wax and wane, dominate and fade, in a somewhat random fashion. …this must be a very accurate depiction of the emotional state and tangible actions of people who have experienced the horror that the Crowthers have experienced. Apart from being amazingly ‘graphic,’ ‘Lament and Restoration’ is also solid and beautiful music that is a pleasure to listen to.” Mac MacDonald, webmaster, september11quilts.org Performed by the GraceMusic Chamber Orchestra and conducted by former New York City Ballet Music Director, Andrea Quinn, the violin concerto was composed to embody the struggle of Alison Crowther to cope with her grief for the loss of her son through the resumption of her violin playing after a 20-year hiatus. 24-year old Welles, known worldwide as “The Man in the Red Bandanna,” heroically rescued countless people before his own death in the World Trade Center on September 11, 2001. Alison is the featured solo violinist on the recording. Paolo Michele Bordignon, the brilliant young harpsichordist, is also a featured soloist on the second piece on the disk, “Suite of Historical Dances.” The orchestra is composed of members of the New York Philharmonic, New York City Ballet Orchestra, New York City Opera, American Ballet Theater, and other noted players. From the liner notes: “Lament and Restoration,” subtitled “Concerto in one movement for Alison, Strings, and Harpsichord,” is almost inseparable from both the person and institution to which it is dedicated, Alison Crowther and the Welles Crowther Trust. It tells the story of how one mother used the power of music to help overcome the grief she experienced after losing her son in the World Trade Center attacks on September 11, 2001. Rather than compose a requiem for the memory of the dead, Ron Wasserman searched for subject matter that would celebrate life and looking to the future in the midst of profound tragedy. In the wonderful story of how Alison put on a series of concerts in her local church, Ron found just that. The emotional needs of the piece are well served by its moderate tempo, Baroque instrumentation, and pleasing tonality. In concert, Alison begins with spoken commentary about the loss of her son and her feelings about how the music speaks of five emotions “shock, anger, sadness, questioning, and acceptance.” During the performance, as listeners both hear and see this mother play the concerto starting in desolation and moving toward healing, the audience has a reaction to more than just the music, but also to the themes of death, loss, and life that resonate with everyone. The “Suite of Historical Dances,” is based on the four Bach orchestral suites, and remains faithful to their form and harmonic language almost to the end. A formal French Overture starts the piece; however, instead of a Minuet, Gavotte and Sarabande, I’ve updated the form with slightly more contemporary dances: Polka, Tango, Jitterbug, and Moon Walk. Silas Brown and Ron Wasserman, producers The production of this recording was made possible by generous help from the following sponsors: PRINCIPAL BENEFACTOR: The Argosy Foundation; LEAD SPONSORS: Orange and Rockland Utilities, Inc.,The Gannett Foundation, Joan Wile; MAJOR DONORS: The Bank of New York, Rockland and Westchester Divisions, The Perillo Tours Foundation, Woodcliff Lake, NJ; SUPPORTERS: Inserra Supermarkets, Inc., Mahwah, NJ, Thomas S. and Mary Jane Karger, Red Oak Bank, Morristown, NJ, Vortex Corporation, Ramsey, NJ, Thomas S. Weekley, Jr., Wright Brothers of Nyack, Inc. Real Estate; FRIENDS: Custom Executive Office, Inc., Nyack, NY, Dr. Roseanne Martorella, Tappan Zee Florist, Nyack, NY, Union State Bank, Nyack, NY, Ellen and William Blumstein Other services were donated or discounted by: ANDREA QUINN, GRACE EPISCOPAL CHURCH, Rev. Richard Gressle, rector, Robert L. Barrows, music director EASY GOURMET CATERERS, Sparkill, NY, ALTO MUSIC, Monsey, NY, NYACK HIGH SCHOOL JAN DEATS, GREY FULMER, MICHELE LINDSAY and EDWARD GRANT . JEFFERSON CROWTHER, HONOR CROWTHER, FAGAN, & PAIGE CROWTHER EDWARD SIMONS, THE ETHICAL CULTURE SOCIETY OF NY BEVERLEY BOZARTH, for the cover watercolor which depicts the churchyard where Welles’ ashes are immured. CLAIRE STANCAMPIANO, graphic design. THE MUSICIANS OF THE ORCHESTRA: Violin 1: Kurt Nikkanen, concertmaster Joanna Frankel Barbara Randall Noah Geller Catherine Miller Sami Merdinian Violin II: Lu Lu, principal Edward Simons Laura Oatts Omar Gueg Pico Alt Christina Courtin Viola: Olivia Koppell, principal Chihiro Fukuda Jaime Amador Beth Guterman Cello: Peter Sanders, principal Kenneth Olsen Dave Morrissey Double Bass: William Blossom, principal Satoshi Okamoto Harpsichord: Paolo Michele Bordignon The Welles Remy Crowther Charitable Trust is recognized as a not-for-profit organization under section 501(c)(3) of the Internal Revenue Service Code, and is registered with the State of New York.