LBCD 1003-1998 - Orchestral Works
• Violin Concerto
• Toccata and Passacaglia
• Guitar Concerto
• Towards the Pinnacle, Soprano Poem
• Holocaust - In Memoriam, Symphony

LBCD 1005-2000 - Promotional CD. Not for sale
• Concerto for Piano and Orchestra
• Concerto Grosso for Timpani, Trumpet and String Orchestra
• Holocaust - In Memoriam, Symphony
• Violin Concerto

LBCD 1016-2008 - Orchestral Mirrors of Life
• Toccata and Passacaglia for Orchestra
• Violin Concerto
• Sinfonietta for Orchestra
• Guitar Concerto
• Holocaust - In Memoriam, Symphony

In his article entitled HOLOCAUST SYMPHONY AN IMPORTANT STATEMENT Richard Todd has written: Maya Badians Symphony Holocaust - In Memoriam has just been released in its first recording. It is a sober, introspective and powerful work, accessible to nearly every listener. Once it becomes well known, it will be reckoned as one of musics most important statements on the Holocaust. The symphony, inspired by Elie Wiesels novel The Fifth Son, is in two connected sections. The first is based mainly on a single plaintive theme, repeated, examined, and subjected to a variety of orchestra manipulations. Its as though the symphony is looking for some kind of consolation in the simple tune. But consolation is denied. The second section, while imbued with a sense of courage and even dignity, is also an expression of mounting tragedy and rage. Despite the somber palette Badian uses, she shows herself to be a masterful orchestrator, exploiting the subtle differences between instruments a! nd weaving a most affecting tapestry of timbre.

The American Premiere of HOLOCAUST - IN MEMORIAM was taking place with the Brooklyn Philharmonic Orchestra under the direction of Yaakov Bergman in New York, on November 7, 1998.

The World Premiere of this Symphony took place with the Instrumentalverein Dortmund under the direction of Peter Gunde on June 24, 1995, in Dortmund, Germany.

"Maya Badian. Orchestral Works LBE. Listeners seeking more of her works will find them richly arrayed on this CD (Maya Badian. Orchestral Works). The Canadian composer's Romanian roots are well-expressed in her work, which at its most modern and dissonant never loses touch with rhythm and melody. The major work on this recording is her powerful Holocaust - In Memoriam Symphony, dedicated to Elie Wiesel. Other works on the CD by this internationally acclaimed composer are her Violin Concerto, Toccata and Passacaglia, Guitar Concerto, and Towards the Pinnacle, Poem for Soprano."

Dr. Maya Badian, the featured composer on this CD, is a prolific, distinguished international composer, musicologist, adjudicator, and lecturer. She has written more than 80 major works for orchestra, chamber ensembles, and multimedia. Her works are frequently performed in important cities in Canada, USA, and Europe. She is widely commissioned to compose for orchestras, ensembles, and renowned performers. Since 1993, all her works are published by LUCIAN BADIAN EDITIONS and distributed worldwide the CANADIAN MUSIC CENTRE and the LUCIAN BADIAN EDITIONS. Since 1998, the Library of Congress in Washington DC purchases her published compositions. These publications are also available for consultation at international libraries, such as: the International Library of Contemporary Music in Paris, France (since 1990, at File 2976); the National Library of Canada (since 1993); the Music Library of the Romanian Radio Broadcasting Corporation, in Bucharest. Three compact discs produced in Canada and released worldwide, featuring her works, reveal strongly Badian's inventiveness, mastery, and versatility: Maya Badian. Orchestral Works (LBCD 1003-98); Fate, Life, Death (LBCD 1002-97); Towards the Pinnacle. Works by Maya Badian (LBCD 1001-94). Dr. Badian is frequently invited to important centers throughout the world to lecture on her compositions, often in collaboration with her husband, Lucian Badian, M. Eng., a music publisher. A strong promoter of Canadian arts, she organized the first Canadian Chamber Concert at the International Music Festival in Budapest, Hungary (1992). She is the first Canadian musicologist to lecture in Germany on 50 Canadian Composers from Sea to Sea (1994), and on Canadian Music and Painting (1993). As an adjudicator, Dr. Badian represented Canada in various international competitions such as the 46th International Competition for Musical Performers (CIEM, Geneva, Switzerland), and the Bla Bart-k International Choir Competition (Debrecen, Hungary). Born in Bucharest, Romania, Maya Badian started to compose at the age of five. She received her principal musical education at the Bucharest Music Academy from which she graduated with a Master's degree in composition (1968). Additional training was taken in Italy and Germany. She obtained a Doctorate in composition, with high distinction, at the Universit de Montral in Montreal (1992). She became a naturalized Canadian (1990). International awards include: the 20th Century Award for Achievement (International Biographical Center, 1998); the International Woman of the Year (IBC, 1997); Who's Who of the Year (American Biographical Institute, USA, 1993). She was appointed an Honorary Member of the Advisory Council of the International Biographical Center, Cambridge, England, in 1991. She is an associate composer with the Canadian Music Center and a member of the Canadian League of Composers. Her manuscripts and archival documents are preserved at the Manuscript Collections, Music Division, National Library and Archives of Canada, the single largest repository of information on Canadian music and musicians both historical and contemporary, at MAYA BADIAN ARCHIVAL FONDS MUS 228 (since 1993). (Text from: Canadian Music Centre Directory, 1999). For more details, you are invited to consult Dr. Maya Badian's home page at: http://www3.sympatico.ca/badian

The orchestral works presented here reveal strongly Badian's inventiveness, mastery and versatility as a composer and brilliant orchestrator. These World Premiere live recordings were done at different times and different places. Violin Concerto, commissioned by the French violinist Jean-Jacques Kantorow, is structured in three movements unfolding in a continuous motion. Toccata and Passacaglia, commissioned by the Union of Romanian Composers, expresses Badian's homage to the major Western musical forms, into a contemporary meaning. Guitar Concerto, commissioned by the Brazilian guitarist Maria-Livia Sao Marcos, is both the first and a singular endeavor in the Romanian musical literature. Badian's creative personality is, again, obvious. She is, once more, a great master of unique orchestral combinations, using elaborated crystal-clear procedures. (Bucharest Music Magazine) The moving setting of the poem by Ana Blandiana Towards the Pinnacle for soprano and orchestra is more spatially oriented. Badian builds intriguing sonorities drawing on the complex partials of these particular combinations. (Dr. Elaine Keillor). Holocaust - In Memoriam, Symphony is dedicated to Elie Wiesel. Dear Maya Badian, I listened to your music and was moved by its pain as well as by its warmth. I am sure the audience was touched by your music. It is evocative and melancholy. (Elie Wiesel) In his article entitled Holocaust Symphony an important statement Richard Todd has written: Maya Badian's Symphony Holocaust In Memoriam has just been released in its first recording (Fate, Life, Death, Lucian Badian Editions CD 1002-97). It is a sober, introspective and powerful work, accessible to nearly every listener. This symphony will be reckoned as one of music's most important statements on the Holocaust. The symphony, inspired by Elie Wiesel's novel The Fifth Son, is in two connected sections. The first is based mainly on a single plaintive theme, repeated, examined, and subjected to a variety of orchestra manipulations. It's as though the symphony is looking for some kind of consolation in the simple tune. But consolation is denied. The second section, while imbued with a sense of courage and even dignity, is also an expression of mounting tragedy and rage. Despite the somber palette Badian uses, she shows herself to be a masterful orchestrator, exploiting the subtle differences between instruments and weaving a most affecting tapestry of timbre. (The Ottawa Citizen, September 13, 1997).