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Theme and variation is a very interesting concept, beyond the obvious spin one ultimately applies to the main theme, one can't deny all the previous experiences one will draw upon from consciously and subliminally. There are many brilliant examples of theme and variation, but the granddaddy of them all is THE GOLDBERG VARIATIONS, by Johann Sebastian Bach, which remains the benchmark for anyone who chooses to indulge in the form, let alone counterpoint.

THE ROSENBERGER VARIATIONS use the Goldberg as a model with the main theme at the beginning and end bracketing the interior fifteen variations.

I met IRMGARD HESS ROSENBERGER when she was an octogenarian She was from a family of music royalty: her father, Alfred Hess, was the concertmaster of the Frankfurt Philharmonic Orchestra; uncle Frederick was the principal cellist for the original Chicago Orchestra, which was to change its name to the Chicago Symphony Orchestra; uncle Willy was the director of the Royal High School for Music in Berlin. Notables such as Max Bruch and Richard Strauss stayed in her home. A Renaissance woman, who was equally alarmed by how the classical elite has all but thumbed its nose at the audience, befriended me (and my music) and became a most generous patron and champion.

On 11/25/98, as part of the reopening ceremonies of the Spanish Synagogue in Prague, THE ROSENBERBER VARIATIONS had its world premiere in front of a standing room only audience, including fifteen heads of state and a representative from the Vatican.

After finishing the variations, I tried to distract myself by working on two different libretti ideas I had for an opera, but was growing more restless and annoying to be with. My wife Yitka, asked, "Why don't you write another string quartet... something romantic for me?" I blew it off. But after two weeks of driving everyone around me and myself more crazy, there I was writing THE ROMANTIC, for my wife, who truly deserved it. I completed it in fifteen days.

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This is serious music, and these are major works. There is nothing here that smacks of populist, commercial art. I would place Wayne very high among the ranks of major American symphonists. Highly recommended.

     —Jerry Dubins , Fanfare Magazine 2004

....'Wayne is a forceful composer.'

     —Variety 1983

....'His work is well wrought and refreshingly original, but at the same time more accessible to the average listener than most new music. Mr. Wayne seems to understand what our age needs at this point.

     —Maurice Edwards , Artistic Director Brooklyn Philharmonic Orchestra

....'I have been aware of his work for a number of years and have been impressed by his growth as a writer

     —Bernice Cohen , ASCAP 1989

'He has a lyrical voice mixed with a little wit, plenty of passion and tremendous sense of drama. What Gershwin did with jazz, he does with rock 'n' roll! A truly original voice who should be heard.'

     —Mark J. Petracca , The New Review of Records 1995

'(The ROCK-n-ROLL is) lots of fun, serious fun, and very well written.'

     — Lukas Foss Composer 1996

'A pleasant, accessible tonal language (and) the piece is certainly technically very adroit.

     —Composer, Conductor, Performer 1995

Hayden Wayne: Genius is as genius does (relentlessly)

     —November, 2000—John Blenn