Canada, United Kingdom, Spain, Germany, France, Taiwan, Japan, China, Belgium, Luxembourg, Mexico, Brazil, Seychelles, Portugal, Austria, Argentina, Netherlands, Denmark, Italy, Lithuania, South Korea, Poland, Uruguay, Israel, Switzerland, Slovak Republic, Czech Republic, Hungary, Russia and others "Undetermined".

We suggest that those having more than a casual interest in symphony visit the Englefield Symphonies web site and have a listen to the very enjoyable "composer selections" samples on every page. The first task of a new composer is audience acceptance and thereby name recognition. The sale of CDs will come later when there are more performances by symphony orchestras around the world.

At the web site, you will hear the waves and experience the rolling action and thrusts of "A Sail at Sea"; the virtuosity of Englefield's Violin Concerto performed by Simon James of the Seattle Symphony; experience a view from atop White Face Mountain in upstate New York in the delightfully swinging jazz composition entitled "Vistas". Ever hear a Concerto for Violin, Viola and Piano? The bright red Twelve Piano Sonata Collection page is introduced with such an unusual concerto composition. Lastly, we find the diversity in the piano sonata music samples to be very interesting. They range from very serious to very smooth (Sonata No. 12). Englefield melodies are from the 20th Century but harken back invitingly.

If your orchestra is performing "new music" you will want to consider Richard Englefield's various symphonies and symphonic poems. They give "new music" a very urgently needed good name.

Last week I gave her a copy of my London Symphony CD to listen to. Yesterday I saw her again and asked her if she enjoyed my symphony. She replied. "Dick, as I told you I have never been a real fan of symphony. I responded by saying, "I understand. The first symphony I ever purchased for my collection back in 1972 was Beethoven's Eroica Symphony. It required many listenings and months of rehearing before I began to enjoy it. Symphony is an acquired taste, I do believe" I then told her that twenty years passed before I composed my first symphony at the age of 55. I also explained that during that period I listened to many other composition works and discovered an amazing fact. There are good sounds and bad sounds in symphony. There are good compositions and many that are undesirable. My new friend did not appear to be a good prospect for aficionado.

It occurred to me and I went on to tell my new friend that we are all passive when it comes to entertainment or being entertained. Symphony requires a more interactive relationship. One needs to be more attentive to the music and listen to what the composer has done in terms of choices and instrument selections. I then talked to her about the personalities of the different composers and differences in their music. I then digressed to my own career which began as a businessman in New York (10 years), distributor for Phillips 66 in Ohio and followed by a ten year period as surveyor and field engineer on high-rise construction in Atlanta. I loved working outside with informality and the rugged terrain.

My new friend listened intently as I then said, "I never had a mother to encourage my music career. My grandmother was very talented and played piano and organ, wrote plays and poetry but lived far away and never really had much influence on my decision making as I was growing up. My interest in symphony was my own choice because of admiration for the classical composer's music and the magnificence of the orchestras that performed their symphonies. Their great works deserved my attention. They had my well deserved respect."

I could see my friend's interest was growing. I concluded by saying, "The next time you listen to my CD, remember that I did not grow up in a musical family. I had talent for harmony at the age of seven which had a unique parallel to the classical composers. but I went on to play football and work in New York for years and gravitate to field engineering later in life. I was a scoutmaster, camper and construction engineer and loved the outdoors. My music was destined to be far different than the music of Mozart, Beethoven, Tchaikovsky or the many other classical composers. My paradigm was of skyscrapers, pine forests, primary forests in Southern Ohio with a little bit of huge guards and tackles rushing toward me as I was fading back to throw a pass in football, thirty years earlier." My friend smiled and nodded with approval. Her deceased husband was a football coach and she understood.

I went home that evening and re-listened to my three performances by the London Symphony Orchestra. I was sure I heard the call of the wild, the rushing waters, the wind billowing in my sails, the pine needles beneath my feet and the hustle and bustle of the people massively moving to and fro on the sidewalks of New York. It was all there in the form of crashing cymbals, great and powerful strings, the mysterious oboe and bassoons, the eloquence of French Horns, the elegance of harp strings and the timing of the timpani drums most emphatically making their statements and assertions.

My new friend had made me realize that I was indeed different from the classical composers. I had to be and my music was destined to be different. Not far different because they were my mentors as my abilities blossomed. I borrowed their styles and added myself to nine symphony compositions. Most of my music is very good. Typically more rehearsal would have improved on other parts of the recordings. All in all, very good!

My new friend now tells me she has re-listened to my symphonies, with my advice and perspective, and finds new enjoyment in giving attention to details of the composer's ideas and innovations. Another new friend who was our very first CD customer wrote to me and said, "You have brought a new voice to the world of symphony. Your music is enjoyably different!"

Thus we have been discussing new and prospective aficiandos, appreciating symphony, a new American composer and a New Voice in the 21st Century. It seemed to me that conductors and business managers would benefit from this information. It is in some ways "classical".