THE LIBRARY SERIES | | New York Library for the Performing Arts | April 26, 2025 music by E Scott Lindner & Whitney E. George feat. THE CURIOSITY CABINET Mara Mayer​ | bass clarinet Adam von Housen | violin Dan McCarthy | viola Maria Hadge | 'cello Lindsay Rosenberg | bass Pablo Eluchans | percussion Tamika Gorski | vibraphone Adam Ahuja | synth Whitney George | conductor Pinch Records | New York, New York Dustin Holton | photography Bennett Hoffman | cinematography & editing made possible with support from: NYSCA & the NYC Department of Cultural Affairs

THE LIBRARY SERIES | | Jefferson Market Library | April 25, 2025 music by E Scott Lindner & Whitney E. George feat. THE CURIOSITY CABINET Mara Mayer​ | bass clarinet Adam von Housen | violin Dan McCarthy | viola Maria Hadge | 'cello Lindsay Rosenberg | bass Pablo Eluchans | percussion Tamika Gorski | vibraphone Adam Ahuja | synth Whitney George | conductor Pinch Records | New York, New York Dustin Holton | photography Bennett Hoffman | cinematography & editing made possible with support from: NYSCA & the NYC Department of Cultural Affairs

THE TELL-TALE HEART (1928) SCORE BY WHITNEY E. GEORGE (2010 rev. 2025, 2014) performed by THE CURIOSITY CABINET Alice Jones | flutes Karen Birch Blundell, | Oboe & English horn Mara Mayer | Clarinet Adam von Housen | Violin Mark Serkin | Cello Christie Echols | Double Bass Dustin Carlson | Electric Guitar Chris Graham | Percussion Tamika Gorski | Percussion Izzy O’Connell | piano Whitney George | conductor The 1928 American silent film The Tell-Tale Heart is an early, expressionist adaptation of Edgar Allan Poe’s famous tale of paranoia, murder, and psychological collapse. Directed by Charles F. Klein and photographed by Leon Shamroy, the short film translates Poe’s feverish first-person narration into a striking visual language of distorted spaces, shadowy interiors, and exaggerated gesture. Rather than relying on dialogue, it leans into silent cinema’s ability to externalize inner torment, turning the murderer’s unraveling mind into the film’s central spectacle. Contemporary descriptions of the film note its avant-garde qualities and its importance as an early cinematic Poe adaptation. What makes the film especially compelling is the way it treats Poe’s story not simply as plot, but as atmosphere: obsession becomes architecture, guilt becomes rhythm, and madness becomes image. The film has been described as expressionistic and visually bold, and it stands as part of a late-silent moment when filmmakers were experimenting with how to render psychological horror through design, lighting, and montage rather than spoken text. Its survival in archival holdings has helped preserve it as a small but significant artifact in the history of Poe on screen and of American experimental silent film. recorded & mastered by E Scott Lindner Edgar Allan Poe: the Tell-Tale Heart & Other Stories Pinch Recording | New York 2026

THE FALL OF THE HOUSE OF USHER (1928) SCORE BY WHITNEY E. GEORGE (2008 rev. 2025, 2014) performed by THE CURIOSITY CABINET Alice Jones | Flutes Mara Mayer | Clarinet Adam von Housen | Violin Mark Serkin | Cello Christie Echols | Double Bass Chris Graham | Percussion Izzy O’Connell | Piano Whitney George | Conductor The Fall of the House of Usher (1928) is a striking American silent-film adaptation of Edgar Allan Poe’s story, co-directed by James Sibley Watson Jr. and Melville Webber. Running only about thirteen minutes, the film distills Poe’s haunted world into an intensely visual, avant-garde experience. Produced independently in Rochester, New York, it transforms the familiar gothic narrative into a dense sequence of distorted images, mirrored surfaces, and shadowed interiors, privileging atmosphere and psychological instability over conventional storytelling. Contemporary film references describe it as both experimental and expressionistic, with visual distortion used to suggest the characters’ collapsing mental and emotional world. What makes this version especially compelling is its emphasis on cinema as hallucination. Rather than offering a straightforward literary retelling, the film uses prisms, abstraction, and stylized composition to evoke dread, illness, burial, and decay. The result is one of the key American avant-garde films of the late silent era: brief, unsettling, and formally daring, it stands as both an early Poe adaptation and a vivid example of how experimental filmmakers used silent cinema to render inner states visible. recorded & mastered by E Scott Lindner Edgar Allan Poe: the Tell-Tale Heart & Other Stories Pinch Recording | New York 2026

THE RAVEN by EA POE SCORE BY WHITNEY E. GEORGE (2005 rev. 2025, 2018, 2014) performed by THE CURIOSITY CABINET Alice Jones | Flutes Karen Birch Blundell, | Oboe & English horn Mara Mayer | Clarinet Adam von Housen | Violin Mark Serkin | Cello Christie Echols | Double Bass Dustin Carlson | Electric Guitar Chris Graham | Percussion Izzy O’Connell | Piano Alivia Quattrocki | narrator Whitney George | Conductor Edgar Allan Poe’s “The Raven,” first published in 1845, is one of the great monuments of literary darkness: a poem of midnight visitation, spectral memory, and the slow unmaking of the mind. In a chamber heavy with mourning, a nameless speaker, weakened by grief for his lost Lenore, is confronted by the arrival of the raven — a black, unyielding creature whose single word, “Nevermore,” tolls through the poem like a funeral bell. With its candlelit gloom, rustling curtains, tapping at the door, and gathering sense of doom, the poem moves beyond narrative into incantation, conjuring a world in which sorrow becomes architecture and thought itself turns haunted. What makes “The Raven” so enduring — and so irresistible for musical setting — is the way it already seems to sing from within its own shadows. Poe’s obsessive meter, internal rhyme, and refrain create a language of spell and echo, as if the poem were summoning the darkness it describes. Beneath its supernatural surface lies something even more unsettling: not merely the visitation of a bird, but the revelation of a mind trapped in grief, circling its own despair like a ritual from which it cannot wake. In this sense, The Raven is not only a gothic poem, but a chamber of reverberation, where loss acquires wings, memory becomes torment, and every sound returns altered by the presence of death. recorded & mastered by E Scott Lindner Edgar Allan Poe: the Tell-Tale Heart & Other Stories Pinch Recording | New York 2026

THE CASK OF AMONTILLADO SCORE BY WHITNEY E. GEORGE 2026 performed by THE CURIOSITY CABINET Alice Jones | Flutes Mark Serkin | Cello Carl Patrick Bolleia | Piano Alivia Quattrocki | Fortunato Aaron Pierce | Montresor Whitney George | Conductor Edgar Allan Poe’s “The Cask of Amontillado,” first published in 1846, is one of his most chilling studies in elegance, revenge, and calculated cruelty. Set amid the intoxicated revelry of Carnival, the tale is narrated by Montresor, a man who calmly recounts how he lured his unsuspecting acquaintance Fortunato into the catacombs beneath his palazzo with the promise of a rare cask of sherry. The horror of the story lies not in frenzy, but in composure: Montresor speaks with terrible lucidity, guiding Fortunato deeper underground through damp vaults lined with bones, where festivity gives way to entrapment, and wit curdles into murder. Poe fashions a world in which irony becomes a weapon, and where the glittering mask of social civility conceals something tomb-like and absolute. What makes “The Cask of Amontillado” so potent is its merciless architecture. The story unfolds with ritual precision: the bells on Fortunato’s costume, the repeated invocations of wine, the narrowing passageways, the mortar and stone prepared in secret. Every detail seems to toll toward the inevitable. Yet Poe leaves the supposed “insult” unnamed, deepening the tale’s unease; the motive remains obscured, and the punishment grotesquely disproportionate. The result is less a simple revenge story than a descent into moral darkness, where pride, performance, and death become inseparable. In its claustrophobic setting and pitiless control of tone, The Cask of Amontillado remains one of Poe’s most devastating meditations on vengeance and the exquisite terror of being buried alive. cinematography & editing by Dustin Holton recorded & mastered by E Scott Lindner Edgar Allan Poe: the Tell-Tale Heart & Other Stories Pinch Recording | New York 2026

a creation of THE CURIOSITY CABINET live from the cell theater, New York - June 2024 HOME (2020), presented as a radio drama for female narrator and chamber ensemble, is a theatrical update of Charlotte Perkins Gilman’s feminist essay "The Home: Its Work and Influence"(1903). Inspired by the world around us, HOME explores the psychology of a woman trapped within her house while a virus runs rampant outside. She is faced with a lineage of ladies who have been longing to leave their homes, and have an identity of their own. Originally penned at the turn of the century, we parallel the Tuberculosis scare to our stay at home COVID order during an administration trying to keep women silenced, subservient and back in the home. music by Whitney E. George text by Charlotte Perkins Gilman, adapted by Brittnay Goodwin Alice Jones | Flutes Christie Echols | Double Bass Tamika Gorski | Percussion Kristin Barone-Samadi | Piano Jordana Sidlow | Foley Artist Whitney George | Conductor Dara Swisher | NARRATOR Whitney George | Producer Brittnay Goodwin | Director Dexter Kodat | Audio Engineering Sierra | Projection Design Luther Frank | Scenographer Kent Sprague | Scenic Assistant Miriam Rochford | Stage Manager Whitney George | Costume Design Dustin Holton | Cinematographer & Editor made possible with support from: NYSC, NYC Department of Cultural Affairs, TDF, and New Music USA

a creation of THE CURIOSITY CABINET live from the cell theater, New York - June 2024 THE MYSTERIOUS AFFAIR AT STYLES (2024) is a radio drama adaptation of the first detective novel written by Agatha Christie of the same title. The work is especially notable as it’s the first introduction of her most famous character: Hercule Poirot. Written in 1916 and published 4 years later, the classic who-done-it is set in England near the home of Emily Inglethorp, who helped Poirot to his new life. His friend Hastings arrives as a guest at her home. On the morning of 18 July, the Styles household wakes to the discovery that Emily Inglethorp, the elderly and wealthy owner, has died. Hastings ventures out to the nearby village of Styles St Mary to enlist help from his friend Hercule Poirot. Emily's household includes her husband, Alfred Inglethorp, a younger man she recently married; her stepsons (from her first husband's previous marriage) John and Lawrence Cavendish; John's wife Mary Cavendish; Cynthia Murdoch, the daughter of a deceased friend of the family; and Evelyn Howard, Emily's companion, all of whom become suspects in the crime. The original publication includes maps of the house, the murder scene, and a drawing of a fragment of a will. The story features many of the elements that have become icons of the Golden Age of Defective Fiction: a large, isolated country manor, and a half-dozen suspects, most of whom are hiding facts about themselves, to name a few. music by Whitney E. George text by Agatha Christie, adapted by Brittnay Goodwin Alice Jones | Flutes Christie Echols | Double Bass Tamika Gorski | Percussion Kristin Barone-Samadi | Piano Jordana Sidlow | Foley Artist Whitney George | Conductor Sarah Goldrainer | POIROT | EMILY Robert Spellman | HASTINGS Dara Swisher | EVIE | MARY Brittnay Goodwin | CYNTHIA | DORCAS Bennett Hoffman | TRAIN COND. | DR. | COP | TOXICOLOGIST Whitney George | CORONER Francisco Corredor | JOHN | ALFRED Whitney George | Producer Brittnay Goodwin | Director Dexter Kodat | Audio Engineering Sierra | Projection Design Luther Frank | Scenographer Kent Sprague | Scenic Assistant Miriam Rochford | Stage Manager Whitney George | Costume Design Dustin Holton | Cinematographer & Editor made possible with support from: NYSCA, NYC Department of Cultural Affairs, TDF, and New Music USA