What is different is the method in which the music is composed. The composition and performance are taking place simultaneously. New technologies have enabled me to digitally record and store my music. Using an instrument like the Clavinova, I am able to make my music available to others. My music does not come "by ear," rather at times I feel it comes from the inspiration of God.

Giving a name to a composition seems more difficult than creating one. If I had the score available, more than likely I would not be able to play it as some of the passages would be too difficult for me to read. Describing what happens when I play is difficult, but the more I "lose" awareness of self, the easier it is to compose and perform. After I hear what is being played, the sounds stimulate thoughts and feelings and set in motion the next sounds to be produced. I do not comprehend how my mind accomplishes this, especially when the rate of interaction is rapid. I have been given a gift and limitations to keep me focused on who is to receive the credit.

I pray each of you who listen to this CD will be blessed in some way.

With Love in Christ, Paul

The Life Behind the Music

I was born in Albert Lea, Minnesota on June 11, 1941. When I was about seven, my parents bought a piano. Without taking lessons, I was able to play by what people label as "playing by ear." However, this was not what was taking place. A congenital eye disorder caused severe visual problems, which made it difficult to focus my eyes on musical scores. One of my eyes was more near-sighted than the other. This condition created a "waffle effect" which resulted in visual images moving in and out of focus. When musical scores were viewed, the notes appeared to be moving; therefore, the same note could appear on a line or space.

At ten, I began taking piano lessons from Helen Olson, a well known musician and piano teacher. While practicing, I would see the notes inaccurately because of my faulty vision. When I played what I had memorized for my teacher, wrong notes would be played. As if this were not enough to create confusion and frustration, my talent of being able to play without notes made it tempting to play with ease while practicing rather than struggling to read the notes in my piano book. At times I would take complicated scores from my Aunt Phev Mortenson's music library.

I improvised while pretending to be reading the score with many sixteenth notes. This method of piano playing and having to practice while my friends were outside having fun, hindered my growth as a piano student. By the time I was twelve, this phase of my "piano career" ended. I listened to my Aunt Phev's collection of classical recordings, and before long I had listened to the entire collection. After being inspired by those recordings, I purchased my own hi-fi record player and joined the Columbia Record Club. I would listen to a recording each night as I went to sleep.

Singing was another matter. With an ear for musical sounds, I did not have to read the notes. Once I heard them played or sung, I could pick-out my part. I sang in the children's and youth choirs in my church and sang in the junior and senior high choruses under the direction of Robert Meyers . looked to Mr. Meyers as someone to model. I desired to be a concert pianist or choral director, but I knew I had too many limitations reading musical scores.

After graduating from Albert Lea High School in 1959, I had planned to attend Saint Olaf College. With a name like Christiansen, I might have fit-in with the well known music traditions of the Christiansens at Saint Olaf; however, I was encouraged by Phil Pagel to attend Dana College.

As it turned out, Dana was a good place for me. I was especially encouraged by Miss McCullough—Miss Mac as she was known. While at Dana, I majored in music and history with intentions of being a music teacher. I sang in the college choir and took piano and singing lessons. I did grow somewhat during three and one-half years of piano instruction, unfortunately my visual handicap and musical talents were ignored or never perceived by my music teachers.

In spite of these limitations, I hold the degrees of B. S., M. S., and Ph.D. and became a school teacher and administrator, university professor and businessman.