Worthgold Publishing

Three world-class woodwind performers met in the Westside of Los Angeles on the next to last day of the year — this was not only a time to rehearse new works, it was also a family reunion: All three happen to be in the same family, the Weiss Family Woodwinds! Talent runs in that family bigtime!

International Flutist Dawn Weiss had recently commissioned a work from Carol Worthey , "Sandcastles" for Flute, Bassoon & Oboe, and this was the first rehearsal at the home of their parents. David Weiss is still actively performing and mentoring after retiring as Principal Oboist of the Los Angeles Philharmonic for thirty years and Abraham (Abe) Weiss is Principal Bassoonist with the Rochester Philharmonic Orchestra in New York State. What an auspicious way to end a most exciting year of music and art. "Sandcastles" tells the story of a family as seen through the event of building a sandcastle together at the beach — and the Weiss children really have always loved the ocean. An astounding four shelf collection of beautiful personally-found sea shells and family photographs at the seaside attested to their life-long passion for surf and sand.

The rehearsal went like a dream, not one "false note" in the score but just a very few minor details to add (as you see in the first photo of Carol at the score with her "cat pencil" and a smile of contentment — It's a "sweet piece", said Dawn and the others! The second photo shows Dawn (flute), Abe (bassoon) and David (oboe) rendering the joyous work in excellent fashion. The third photo is the obligatory group/family with composer photo but the smiles were freely offered, non-obligatory and sincerely warm with the happiness that a good rehearsal and pleased performers and composer can engender. The fourth photo has its own "back-story": Dawn's beautiful daughter Sarah Weiss first charmed Carol when Dawn, Sarah and Dawn's sweet Mom Marcia (a fellow Mu Phi in Carol's LA Alumni Chapter) had visited Carol's home a while back — "Oh, Sarah, you are so gorgeous and you look like 'Alice in Wonderland'!" exclaimed Carol at that time. Envisioning the artwork for the cover of the "Sandcastles" score, Carol imagined Sarah by the seaside, building a sandcastle. The resultant art piece "Building A Dream" is really a portrait of Sarah (done totally from imagination, not from any photo) as well as an enactment of the "plot" of "Sandcastles" , wherein one-by-one the children of the family dream of building a sandcastle, build it, it gets washed away by the waves but... the family remains and a dream has been fulfilled. So here you see Sarah and Carol together at last once again with the "Building A Dream" artwork. Sarah happened serendipitously to be wearing some of the same orange, pink and blue colors as are featured in the work! Below that, you can see the cover of “Sandcastles” and enjoy the watercolor pencil painting at closer hand!

There is nothing quite like hearing your piece for the first time with top musicians, especially when they have the love, humor and closeness of a real family! News of the World Premiere will be forthcoming in the next few months....

The premiere of Carol Worthey 's latest work "Lament for Viola & Piano" was truly a thrill! Violist Karen Elaine and Pianist Nadia Shpachenko performed it twice in the same day, both for packed and enthusiastic audiences. At the Glendale Noon Concerts on November 18th at the First Baptist Church in Glendale, the largest-ever audience for the Noon Concerts assembled to hear Karen, Nadia and Clarinetist/Conductor Jerome Summers perform Mozart, Hindemith, Bloch, and two World Premieres: a riveting new work called "Portraits of Pompeii" by David Kopplin and a poignant, breathtaking performance of "Lament". That night at Cal Poly Pomona a nearly-full-capacity audience of over one hundred fifty musicians, students and faculty members enjoyed the same program in the fine acoustics and comfortable seats of the recital hall as "Nadia & Friends" was presented in a gala concert.

As Carol expressed it:

"Karen, Nadia and Jerome didn't miss a beat or a note and always, always, the attention as one listened went to the MUSIC, the composer's vision, the nuance, so in tune were these three with one another. I am so honored that performers of this world-class quality did the premiere of Lament ! THANK YOU all for both concerts — dreams can come true!"

This is what the performers had to say when preparing Carol's Lament:

"Nadia and I are inspired to bring EVERYTHING to the Lament on Wednesday. You have created a masterful showpiece for the instruments and the emotion in this piece."

—Karen Elaine, Grammy-Nominated Violist

"Such a deeply felt, sincere and moving piece.”

—Nadia Shpachenko, Pianist & Music Professor at Cal Poly Pomona

That evening, a review was posted on facebook that we proudly share with you:

"The really Stunning Lament of Carol Worthey that I was fortunate enough to hear at Jackie Suzuki's Noonday concert! Worthey is an incredible Composer! A deep sense of modernity with profound musicality! And such a DEEP understanding of melodic line and harmony! I went with an open and inquisitive mind, so I would have NO expectations... just let her music unfold into my soul! And THAT is exactly what happened. [Carol] gave a short talk about this composition, that it isn't necessarily a grief-stricken Lament, but rather a tender Lament, much the same as looking back on a lost love! Now that in Worthey's pen is profound! I can't wait for the next performances of [her] works! Every one of my FB's performing Artists, pay heed to this Beautiful Soul, she is One of a Kind! Brilliant.... Mme Worthey! This will be followed by more movements as a Suite!!!"

—Suezenne Fordham, Classical-Fusion Jazz Pianist & Critic

	Lament (Karen Elaine, Viola / Nadia Shpachenko, Piano)
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Effortless technique is a given in a concert by Beth Levin where one's attention is drawn into the heart of every piece she plays. Are these nuances of tone color and touch, these breathtaking moments of expressivity, these insights into the structure of a work, are these elements of her musicality spontaneous or well-thought-out? As they say in "Shakespeare in Love", "T'is a mystery!...." But maybe not, look at Beth's photo — those long, slender, inimitably graceful fingers have to mean something. And that warm smile and direct, inviting gaze: Here is a performer who welcomes the audience in. One sits there in wonder, just thrilling to it, feeling as if one had an inside scoop into how the composer envisioned each moment of the work.

At the world-premiere in Philadelphia's Settlement Music School "Distinguished Alumni Concert" on November 8th, Ms. Levin made Carol Worthey 's 'Romanza' come alive, the passionate moments, the delicate and tender moments, the interweaving of love-dialogue, the majestic and graceful spirit of "romance" as in swashbuckling days of yore! Not a pin dropped during 'Romanza' nor a cough in the audience to mar the recording. The entire program, including other marvelous contemporary works and a spectacular exploration of Beethoven's challenging Diabelli Variations, thrilled the audience. Beth puts it this way,

"I felt they were with me even as the 33rd variation of the Diabelli wound its way to the end....."

And Ms. Levin has this to say about Carol's work:

"Romanza is fresh, moving, emotional and vibrant! It is a delight to work on and to perform. I love finding new dimensions to the work each day and look forward to sharing it with audiences. Your music seems to view the world freshly- I just love it! It is my honor and joy to premiere your piece."

How did this piece come about? Carol Worthey describes the birth of 'Romanza' this way:

"One morning, in that 'twilight time' just before waking to full consciousness, I heard in my sleep the lyrical, passionate opening theme of Romanza (all of it wholecloth, melody, harmony, interweaving textures) vibrant in rich sonority. It just poured out of me and after I began to realize I was composing in my sleep, I had to force myself awake to rush to the piano to capture it as quickly as it was flowing out of my heart and imagination. This happened a few weeks before my twenty-ninth wedding anniversary to Ray Korns, who nurtures me every day, so it was infused with how I feel about having found my helpmeet in life. ('Helpmeet' is a great old word meaning 'a loyal mate who is there for you no matter what.') But as the work evolved, other nuances of the word 'romance' began to surface: Romance is not only about passionate and sensuous love, but in olden days the very word sang of grace, spontaneity, and dashing adventure. It's kind of a 'Three Musketeers' word! I gave the title an Italian accent as Romanza because (having fallen in love with Italy on my 2007 visit to Florence as a composer and painter) I recognized unabashedly that this composition was rooted just as much in Tuscan soil as it was in my American and Jewish roots. I fashioned the work essentially as a Theme and Variations. The challenge became to create variations that took the theme somewhere, furnishing contrast while holding to the same level of intensity as the main theme. As the piece developed, it took on the scenario of a romantic conversation and so countermeloidies were interwoven as dialogue... Everyday life with its mundane chores punctuated by stressful news can drown a sense of romance. But let's not let romance die! It is the lifebreath of what makes life worth living!"

Carol Worthey wishes to thank Beth Levin and the staff of Settlement House for the opportunity to bring more romance and musical excellence to our world of today!

	Romanza (Beth Levin, Piano)
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Santa Monica's Public Library is a striking contrast to the symmetrical ladylike grace and grandeur of the Pasadena Library. Here in this more casual town with its curved beach and rollerskating pier, a hotbed known for new and sometimes revolutionary ideas, a "with-it" place of posh shops and California cuisine, Santa Monica's Library is a straightforward yet inviting contemporary building, with large open windows, no-nonsense reception desk and a central sunny plaza for "laptops and hangin' out over term papers" with a handy little coffee shop located right on the friendly premises. Next door to the coffee shop is the Martin Luther King Jr. Recital Hall , a spacious and acoustically excellent auditorium in pale wood with a beautiful, tuned concert grand prominently featured on the stage. It's a bigger hall than Pasadena's and what Pasadena offers in intimacy and elegance, Santa Monica makes up for in slanted rows offering good visibility and greater capacity. The large audience was enthusiastic and the hall was nearly full! All composers were present, adding a mood of anticipation to the presentings.

To cap everything off, Co-President of Mu Phi Epsilon Los Angeles Alumni Chapter (and one of the composers represented in the concert with a beautiful wedding song) Adrienne Albert read the Proclamation from President Obama to the largely Westside audience, predominantly Obama-ites at home in the political "climate" of Santa Monica. President Obama's Proclamation, hailing our participation in Daniel Pearl World Music Days , sent a thrill of adulation through the audience that was audible!

As to the performances, who's to say which concert excelled above the other as Valerie Miller , Paul Hurst , and Daniel Kessner and Dolly Kessner each seemed to make this second concert a new revelation in a new moment. (Both concerts were superb!) Each composer felt his or her songs were beautifully presented and you could tell that from broad smiles as they stood to greet the audience and thank the performers. The large audience and long applause made the auditorium glow brightly! Afterwards, in the adjoining plaza, everyone gathered around refreshments and the excitement generated by this concert was palpable!

The Pasadena Public Library (right down the street from City Hall) is regal on the outside, an archetypal building both grand and graceful, a fitting tribute to the tradition of elegance that Pasadena boasts. Walk inside and you feel as if you literally breathe in books: huge three-story-high ceilings strung with long-corded art deco lights and venerable, rich brown woodwork give it a somewhat dusty perfume of timelessness, a sense of hushed discovery and reverence for learning. It's anyone's instant idea of "library". Music in such a setting? Would we be told, "Quiet, please! This is a library"? Fortunately, down the long hall to the left, sealed discretely in a double set of doors to block out sound is a beautiful, intimate chamber music recital hall with semi-circle rows of carved green-and-gold seats. Fitting in such a library setting, the audience was treated to a veritable feast of words, poetry by W. B. Yeats and E. E. Cummings and others, misted words, ribald phrases, colorful imagery all, set to expressive and sometimes adventurous but always beautiful music by living composers, all of whom (except one) were there in attendance. It was as if a gracious "little ol' lady from Pasadena" had invited us in for a sumptuous tea, complete with golden porcelain cups, savory sandwiches and a fantastical array of adventurous petit-fours spread out before us in an afternoon feast for the ears!

Carol Worthey was elated at the World Premiere of "Buffalo Bill's", a song she had written long ago but never heard in concert until then... and equally thrilled with "a wind has blown the rain away and blown." It was as if E. E. Cummings himself had come alive, tiptoeing into the venerable library to savor the riveting performance by Soprano Valerie Miller , accompanied by Paul Hurst on piano. Rims of tears on the edge of Carol's eyes threatened to tumble down her cheeks across her smile.

What a joy it is for a composer when performers truly understand what the composer has intended and pull it off, engaging the audience! Valerie Miller is as potent an actress as she is a singer. You could understand each and every word she sang, and the nuances and tone colors were brilliantly well-conceived to portray the poet's and composer's intent. Her voice is rich in all registers and encompasses any kind of tone color or mood she felt the song or word needed. Paul Hurst (a triple threat: wonderful Composer, superb Harpist and skilled Pianist) accompanied Valerie with the perfect sensitivity to the flow and touch needed. Just before the intermission Paul thrilled us with his radiant harp tribute to the majestic beauty of Yosemite. After intermission, Composer and Flutist, Daniel Kessner (National President of NACUSA) and his pianist wife Dolly Kessner (who closed the concert with her husband's Toccata) joined the ensemble to give further sonorities to the mix. We experienced a veritable sound-fest secreted inside the middle of a hushed library!

This concert was also notable for being part of a world-wide event occuring each October, Daniel Pearl World Music Days . Concerts and theatrical or dance events are held in cities around the world in tribute to the journalist (slain in Afghanistan by terrorists) who was passionate about how music could create understanding amongst peoples and who himself was an accomplished musician. In light of our participation in Daniel Pearl World Music Days , it was a special surprise honor when Deon Price (Co-President of Mu Phi Epsilon and President of NACUSA LA) proudly read a proclamation from President Barack Obama himself thanking all the participants in World Music Days! Music — so often called the "universal language" that it has become a truism — is vitally needed in this troubled world to help create greater understanding and peace! All the composers and performers shared in this moment as the Proclamation was read! The audience nodded and smiled their approval, happily content over their "afternoon tea" of music. After all, this is Pasadena and events are done with a certain classic sense of polite grace and decorum! On the way out of the Library, Carol spotted a writer friend, ensconsed in piles of books and focussed on her laptop, who had been completely unaware of any echo of music, leave alone exciting contemporary music and living composers, a mere hallway away. Who knew?! What fun this whole "afternoon affair" was.. as if a clandestine meeting had occurred inside the unsuspecting halls of proper reverence for books. And we at our concert had worshipped the power of words and the power of music joined at last, a true love affair of the heart!

	Buffalo Bill's (Valerie Miller, Vocal)
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	a wind has blown the rain away and blown (Valerie Miller, Vocal)
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The radiant colors of this limited edition giclee print of Carol Worthey 's "Musical Mermaid: Kayla of The Celtic Seas" (accurate in every subtle detail to the original painting) were personally enhanced by the artist in Errol Higgin 's spacious, state-of-the-art photography and printmaking studio. Carol painstakingly applied delicate yet vibrant touches of gold, copper and iridescent paints to the fine quality canvas.

The original painting (as you can see in the top photo) is quite a large one and interestingly enough manages to combine a lyric quality with something heraldic, perhaps "epic" in its gesture and mood: because of this, Carol was really delighted to see that the same sense of spaciousness was still there in the more convenient size of the print, with the mermaid floating in perfect balance and yet surrounded by the passionately flowing water and encircling goldfish. The fascinating fusion of motion and symmetry in the original are just as observable in the print. The artist then added her signature to the back (the print also bears her "CW" on the front as a tiny sea-creature) and wrote the limited edition number on the back to ready it for an art collector in Memphis, Tennessee who is eagerly awaiting her print of this work and one of Carol's "African Mermaid." Carol also personally enhanced the Wild Coast scene of "African Mermaid" with delicate touches that brought the waterfalls and water droplets to life.

Working with Errol Higgins , a consummate professional, is always a pleasure and he was just about as excited (if that is possible) by the beautiful prints as she was! Here you see Errol watching Carol painting her special touches on "Musical Mermaid." Both prints will arrive stretched on wood and packed in a custom-made box, ready to be custom-framed by Carol's avid collector.

You are invited to visit the galleries at Carol's visual art sites (click below) and fall in love with one or more of her works, which she promises will bring elegance and warmth into your home or reception area.

This series of concerts featured an instrument that is rarely heard as a solo instrument, the tuba, which Carol wishes were more widely known for the versatility it can have in skilled hands. For such a huge instrument, the tuba has a remarkable capacity for lyricism, golden tone, and fluidity in rapid passages, especially in the hands of a tuba virtuoso such as John Van Houten .

John has been able to search out or inspire the creation of a wide variety of pieces for tuba, either solo or in combination with piano, trombone or harp. Each performer excelled. The pieces were fascinating and beautiful in turn, from the Concerto for Bass Trombone and Piano (1959) by Robert Spillman , to which both Joel Cliff on piano and John on Tuba gave dramatic impetus, to an amusing "over the neighbor's fence" conversation by Charles Small , friendly and antagonistic in turns, to Paul Witt 's two compositions including a fascinating Soli for tuba and harp (when have you heard that combination? — yet it worked wonderfully), to John's heroic and mindblowingly difficult adaptation of a famous solo flute piece (flute? Yes) Density 21.5 by Twentieth Century innovator Edvard Varese (1883 – 1965), a ground-breaking work.

What can I say about John's world-premiere of my two solo tuba pieces originally written for double bass --- SPECTACULAR! "Grandpa Reminisces" was portrayed with the sensitivity, tone color, phrasing and lyricism I intended, for this is a waltz of an old man still in love with... love! And then John mysteriously said, "Excuse me... I'll be right back" and left the stage for a suspenseful moment. What was wrong? Nothing! He came back on stage to the amusement (and relief) of all, sporting an Ed Norton-type slouchy hat and sunglasses and proceeded to regale us, complete with finger snaps, cat's meows, and other hilarious antics, with my final work, "Cool Cat" !

John, you ARE a Cool Cat! The audience couldn't resist finger-snapping along and it was the perfect close to a really wonderful concert!

Errol Higgins is a true artist as a photographer and a delightful gentleman who makes me feel very special when Ray and I visit his Irvine California photography studio, which boasts the most advanced equipment on the planet. He can be counted on as a consummate professional to take extra care to perfect everything he shoots. I highly recommend him when you want the best!

With his photographer's eye, I guess it impelled me to wear my sunglasses perched on my head, as a second set of eyes, just to even up the score!

It was such a wonderful October Saturday afternoon spent with water sprite and virtuoso violist Karen Elaine ! Karen looks so pretty in pink and before she arrived, I instinctively gravitated to my pastel lilac jacket — our affinity is evident.

She and I played through my new Viola and Piano work “Lament” (which she happily will premiere this November) and I got to show her my latest Mermaid painting "African Mermaid." Karen is not only a magnificent violist, she is a certified scuba diving instructor, and with her flowing braids and sunny smile, the appellation "mermaid" just seems to fit perfectly.

In early August 2009 the Professional Fraternity Association met in Jacksonville Florida for their annual convention where the Los Angeles Alumni Chapter of Mu Phi Epsilon (an international music fraternity) was awarded the "Outstanding International Project of The Year" for "Beijing Meets The World" . Seems simple enough, right? Well, just as in literature where each major character has an unwritten but telling lifetime of prior experiences, character traits and the like, all of which is called his “back-story”, there's more than meets the eye here.

The back-story reveals an unfolding chain of events beginning with a call in late 2007 from Deon Nielson Price , renowned composer, women's music advocate and beloved friend. It was a morning call and drowsy Carol Worthey took in the data with a growing sense of alarm. "Hi Carol. Today is the absolute deadline to submit a grant for the Helen Haupt Chapter grant that could take a good number of our chapter composers and performers to the 2008 Beijing ICWM we've all been working on for a few years. But I'm totally swamped this morning and afternoon and won't be able to write and mail the grant. Can you do it I hope, Carol?" History was changed (at least for Worthey, Price and the Chapter) when Carol swallowed and said, "I'm swamped too... oh my goodness... but I'll do it."

Carol had (literally) a few hours to put together the grant info, do the writeup and mail it by the postal deadline that very day. Yikes. Well, you guessed it. Our chapter was awarded the Helen Haupt Chapter Grant by the Mu Phi Epsilon Foundation, a grant which provided a number of our members transportation to the 2008 Beijing ICWM (International Congress of Women in Music).

Actually, the back-story extends further back in time, to the summer of 2006: At another music organization that Deon Price and Carol Worthey belong to, International Alliance for Women in Music , during the 2006 Miami Congress of IAWM, newly-elected Board Member Carol worthey had dared to make the motion to have IAWM co-sponsor the Beijing ICWM in 2008. (You must understand that a new member of this Board is expected to listen and absorb rather than speak up much.) Again, Carol put her head on a pike but the motion was passed and the Congress planning stage began. You see, Chinese Composer Li Yiding and a professor from the China Conservatory of Music in Beijing had been planning this event under the astute guidance of Deon Nielson Price for over a year beforehand when Li Yiding had come to the 2005 World Music Conference in Hollywood and met Deon and Carol. So it was in 2006 at the Miami IAWM Congress that Li Yiding had brought beautifully organized plans and brochures with her to win the Board over — Congresses are major and complex enterprises to plan and execute. But this particular Congress had great appeal --- to their credit music groups such as IAWM, ICWM and Mu Phi Epsilon are focused on creating international understanding and harmony through the power of music. It's not just lip service.

Deon and Carol had been there at the start: That was why Carol, however reluctant, agreed to write the grant that busy morning. In so doing, she become the Project Leader and Grant Writer. Musicians from twenty-four nations, major orchestra concerts in splendid halls, chamber music recitals with exotic instruments and sonorities, seminars given in Chinese and English, a kaleidoscope of musical offerings, trips to the Great Wall of China, the Forbidden City and immense Tienanmen Square, world premieres, alliances and friendships formed at the 2008 Beijing ICWM, what an amazing adventure! This became the cover story that Carol Worthey wrote for the Mu Phi Epsilon Triangle Magazine .

And so it was that Fran Irwin , International President of Mu Phi Epsilon, decided to present our Chapter's trip to Beijing to the Professional Fraternity Association for consideration as the potential winner of the "Outstanding International Project of The Year". Well, you know the happy outcome! As Project Leader and Grant Writer and as someone "in on the action" from the beginning, Carol Worthey takes enormous personal pride in receiving her award. "Don't say 'No'!" is now an operative phrase in Carol's vocabulary. Suppose she had just said, "Deon, I just can't do it. I'm way too busy!" One never knows what a "Yes", however reluctant, will lead to! Long live initiative, back-stories, dedication, and the joy of making international friends through music!

Carol Worthey has composed and arranged for many choirs, secular or religious, in California, the United States and Canada and loves writing for voices lifted in song. Sixteen years in Renaissance Speakers Toastmasters Club has taught the exuberant Carol how to condense and summarize her points and come in on time (well... almost all the time). One of the choirs that has performed many of Carol's original choral pieces and arrangements (in no less venues than the Dorothy Chandler Pavilion and Universal Ampitheater) is the Church of Scientology Choir in Los Angeles. Although Carol had long retired as the senior Arranger/Composer for that choir, word had reached members that Carol's career had indeed gone "international." And so the choir leadership decided to hold a summer party to announce exciting new plans and decided to ask Carol to present a talk about her recent music trips to Florence Italy and Beijing China. Husband Ray created an interesting Power Point that took the audience on a mini-world-tour of those beautiful cities via photos, music montages (soundbites) and pointers that the audience could easily follow. The weather accommodated with sun and a pleasant breeze in the most lush and splendid private garden Carol has ever seen in California. Inside, the elegant and welcoming home of Hagit Ron with its delightful art collection provided a gracious setting for a delicious buffet and lots of cameraderie. After dinner, Carol presented her talk to an enthusiastic crowd and was grateful for their support! The talk concluded with some career tips for aspiring songwriters and composers in the choir.

Returning after several years away from her favorite medium (the challenging, translucent and unpredictably exciting medium of watercolor) Carol Worthey recently completed "Aloft: Where A Child's Dreams Begin." Ever since her childhood, swinging on a swing has meant freedom, imagination, new vistas and perhaps a sense of... escape. Carol designed “Aloft” to represent the ecstatic feel of wonder that anyone swinging wide and far on a country swing can feel. The russet, apricot, gold and lime leaves form a tapestry around the push and pull of the climbing child, soaring above the trees' limitations, soft lilac and gray tones beckoning beyond the foreground into a misty forest. The young girl's bright acqua dress shimmers against the backdrop and on the bodice, in mid-flight are shadows of autumn leaves, embroidered in a moment suspended in time, yet animated by the imagined motion of the swing. Carol's favorite parts of her new watercolor: The child's innocent and shaded feet, her streaming locks of scarlet hair set against the warmth of shimmering leaves. Let this painting take you back to your fondest memories of childhood and forward into a bright future's farthest vista!

At present the Original Watercolor is Available. Limited Edition Fine Giclee Prints can be ordered as well.

After singing with a radiance that was in turn tender and passionate (all the while moving to challenging choreographed steps and gestures) as the Princely Lead in John Adam's rapturous Indian folk tale about love and loyalty "A Flowering Tree", Russell Thomas , Young Met Tenor, was finally more than ready to relax (sit down, breathe quietly... call his New York agent in our garden, of course) and take in a gourmet repast prepared by Carol in his honor.

Before dinner Ray and Carol had been enthralled by the brilliantly costumed concert-opera at Disney Hall. We loved the two swirling, gravity-defying Indonesian dancers with their Balinese postures, the LA Master Chorale bedecked in jewel tones, we ached with the heartwrenching story of a beautiful peasant girl who turns into a tree to shed flower petals which can be sold to save her family from dire poverty and who entrances a Prince (Russell) but cannot escape her fate as a changeling tree-woman... until the recognition of abiding love saves the Prince and her. What a story, what luscious sonorities in the orchestra --- this is Carol's favorite John Adams' score.

Carol and Ray have followed Russell's career with great interest ever since hearing his mesmerizing voice at the Loren Zachary Opera Competition, talents that make him a dual threat, as a singer/actor and an acting singer. Russell and Carol have been formulating plans for a new chamber/vocal work by her and have been comparing notes on potential poems/lyrics to set. Dinner was enhanced by cheerful conversation, wine and an affectionate admiration that shows in this photo.

L'Chaim, Namaste, Long Live such talent!

The UAF Trumpet Ensemble and UAF Brass Choir performed Carol Worthey 's "Fanfare For the New Renaissance" at a well-attended concert at the Morris Thompson Cultural and Visitors Center in Fairbanks, Alaska. James Bicigo , Conducted this Alaskan premier performance.

On April 26th 2009 a convivial group of wine aficionados and good friends gathered in secret for a festive Surprise Party for birthday boy, Ken Rushworth . Lovingly organized by Carol's good friend Rivian Bell , the unsuspecting Ken was invited out "to stop by just for a quick wine tasting" with one of his friends at THE place for wine and cheese in Southern California, appropriately named California Wine & Cheese (115 West Foothill Boulevard, in charming Old Town Monrovia, CA 91016, proprietors Tom & Janet Dugan). A warm and lively group of his friends enjoyed the wait over scrumptious tapas, gourmet cheeses of all description and the most delicious California wines you've ever tasted. Over to one side draped with a cloth was the Big Reveal, a wine country landscape especially commissioned from Carol by Rivian. "Ken's Dream" was inspired by things, activities and places that Ken really loves: Two wine glasses gleam in the sunlight on a romantic table for two, next to a bottle of Ken's favorite vintage (Carol painted the bottle's label with a magnifying glass, capturing the miniature vineyard on it, and made the bottle glow with multiple layers of deep red and bottle green). Braided rows of ripening grapes extend up to the distant hills. Soaring above this scene in full wingspread is a noble peregrine falcon with practically every feather depicted in tiny strokes (Ken is a falconer.)

Was Ken actually surprised? Yes! And what about the Reveal? A big success, of course!

If you have a special person in mind or a special occasion, Carol would love to do a custom commission that will capture the person, the event, the memory or the future-vision.

American Premiere of "Fanfare for The New Renaissance"

Bemidji Symphony Orchestra, Conductor & Music Director Beverly Everett

Hailed as the "cornerstone of our 70th anniversary", Carol Worthey 's "Fanfare for The New Renaissance" was given its American Premiere on March 8th by the Bemidji Symphony Orchestra, ably conducted by Beverly Everett in front of a packed audience in this picturesque college town in Minnesota's beautiful lake country. Dr. Everett reported that “the audience sat on the edge of their seats”, riveted by the energizing brass sonorities of this fanfare and its look into a hopeful future. A few days later the fanfare was performed a second time for a packed auditorium of enthusiastic schoolchildren! This is the kind of up-close community involvement that makes Carol Worthey happy, especially because it introduces young children to the joys of symphonic music! The fanfare was originally world-premiered in Florence Italy, cradle of the Renaissance, on the Opening Day of the 2007 Florence Biennale International Contemporary Art Festival where it received a Special Recognition Award. Carol had actually dreamt the fanfare — sometimes dreams come true! She hopes that the music will inspire others to create a more compassionate world where arts and culture can thrive in a more peaceful world. This dream involves a lot of work, but... "somebody has to dream it." Carol did, literally.

It is worthy of note (no pun intended) that Beverly Everett has taken the Bemidji Symphony Orchestra into a new level of musical excellence and generated very active community support with her spirit, leadership and conductorial talent. In addition to Carol's fanfare, the Seventieth Anniversary also featured a performance by world-renowned pianist Andre Watts and a new work by brilliant American composer Libby Larsen . Carol is very proud to have been the "cornerstone" of this amazing year.

Each year Jim Raycroft , member of the Los Angeles Master Chorale, invites Los Angeles composers to bring selections from their choral works (often unpublished) to this day-long sight-singing fest. This year, on Saturday, January 24th he presented the 8th Annual "A Choral Taste of Los Angeles" . Participants sing through new works by the composers and usually get to keep copies as well.

This year's presenters included: Jim Raycroft , Dale Jergenson , Michael Kohl , J. Wingate Greathouse who also generously served as accompanist, Bruce Babcock , John Scott , Allan Petker , Andreas Preponis and Phil Azelton .

The gourmet lunch is always a hit following a heady morning of sight-singing in preparation for the afternoon session.

Carol Worthey is once again happy to lend enthusiastic support to Jim Raycroft and his efforts to encourage and promote all greater Los Angeles based singers, choral directors and choral composers.

On January 15th, a gala reception was held for Carol Worthey /s "Joy of Creativity" Exhibition at The Art Salon of the Clubhouse of The Ebell of Los Angeles. Several hundred of Carol's friends and supporters were on hand to view the exhibit and wish her well including Carol's fellow Ebell Club members and musical friends. Entertainment was by the Chairmen of the Chord vocal quartet, Charlie Cox a balladier, and Mary Au concert pianist, who played several piano pieces written by Carol.

The Reception lasted for several hours and generated a number of original sales. Some Limited Edition Giclee Prints of the sold pieces are still available.

An Exhibition of Artworks by Carol Worthey Opened on Tuesday, December 9th, 2008 and ran through January 29, 2009 at The Art Salon of the Clubhouse of The Ebell of Los Angeles. The successful show attracted many visitors. Please see photos of the Artist's Reception on this page.

Wishing you all a very Happy New Year!