Percussion instruments have only recently become the last members of the symphonic family to be used fully and sensitively by composers, long after strings, woodwinds and brasses have been effectively exploited. Creative interest in the symphonic percussion section began in earnest in the late 1940s and has not yet abated, with rather impressive musical results thus far achieved. It is safe to say that the skillful use of a liberated percussion section has changed the very sound of contemporary symphonic music. One of the by-products of this welcome development has been the emergence of the percussion ensemble as an independent performing entity throughout the US and all over the world. These ensembles have programmed new works by some of our most gifted composers and they are responsible for adding a new dimension to America's listening experience. The four composers whose works have been adapted to create this program are all quite different from one another, yet, they have been approached as a single musical organism, with the hope that, even after transfer to the same sound source, they would coexist with one another without giving up or cancelling outany of their respective original characteristics of style, color, or content.
 Tracks 1 BIZET: Carmen Fantasy (Arr. H. Farberman for Percussion Ensemble) 2 BEETHOVEN: Symphony No. 9 in D minor, Op. 125, "Choral": II. Scherzo: Molto Vivace (Arr. H. Farberman for Percussion Ensemble) 3 PACHELBEL: Canon and Gigue in D Major: Canon in D Major: (Arr. H. Farberman for Percussion Ensemble) 4 BERLIOZ: Symphonie Fantastique, Op. 14: IV. Marche Au Supplice: Allegretto Non Troppo (Arr. H. Faberman for Chamber Ensemble)
