Catalog

This collection of chamber music for violin and other instruments includes works by Milhaud, Piston, Adler, Martinu, Rubbra, and Dvorak. Possibly the least known composer for American listeners is Edmund Rubbra, an Englishman who was born in 1901 and died in 1986 on St. Valentine's Day. He produced more than 160 works, a prolific output for a twentieth century composer, and made major contributions to all forms except opera. He developed a unique and unmistakable style which will increasingly be considered to be not a by-way but an integral part of twentieth century music history. Rubbra was born in Northampton of parents who were both music lovers. Cyril Scott heard of Rubbra performing a recital of his music and invited him to study composition. He eventually won a composition scholarship at University College where he studied composition with Holst. Thus Rubbra was taught by two composers with whom he had great natural affinities and interests. All three were interested in Eastern philosophy and mysticism, then highly fashionable in artistic circles, while Scott was an imaginative and at his best, highly original composer who was very sympathetic to Rubbra's aspirations. It was Holst, however, who released in Rubbra his enduring love of counterpoint and introduced him to the rich treasures of English Renaissance music, then only being slowly discovered.

The world knows Bela Bartok as one of the twentieth century's great composers. Fewer people know of the many miniature masterpieces he composed for young musicians, and even fewer realize that he was a brilliant and diligent scholar of Eastern European folk music. Working 50 years before the term was even coined, he is now considered one of the first great ethnomusicologists, in addition to his formidable compositional achievements. In 1905, shortly after his first contacts with the "pure" music of Hungarian peasants, Bartok met Zoltan Kodaly, a fellow Hungarian composer one year his junior, who was also deeply interested in authentic folk music. Together they founded the Hungarian Music Society and they collaborated in collecting and editing Hungarian folksongs for publication. Close friends throughout their lives, they often performed and championed each other's music. The performers on this recording have endeavored to be true to the original spirit of the music of Bartok and Kodaly in arranging for the group. Sometimes these arrangements have a comparatively logical quality, such as Bartok's Rumanian Dances played by a folk band with cimbalom, whistles and recorders, guitars, banjo and bass. In other cases the sounds are more unusual, such as the arrangement of Kodaly's Ave Maria for voice and low pennywhistles.

Hunter Johnson was born near Benson, North Carolina in 1906. He attended the University of North Carolina at Chapel Hill and the Eastman School of Music, graduating from the latter institution in 1929. He did graduate work with Bernard Rogers at Eastman, and then worked with Alfredo Casella in Rome. He is perhaps best known for the Piano Sonata recorded here and for his music for the Martha Graham ballets: Letter to the World and Deaths and Entrances, which have had hundreds of performances in the United States, Europe and Asia given by the Graham Dance Company. His music has been variously described as neo-classic, neo-romantic and nationalist. It is most likely a combination of all three. Throughout most of his career, Johnson has been deeply involved in teaching, having taught advanced theory and composition at Cornell University, and at the Universities of Michigan, Manitoba, Illinois and Texas. In June, 1991, Hunter Johnson was named Composer Laureate of North Carolina, the first such award to be designated by the state. This disc, now at mid-price, is a wonderful introduction to the music of this sorely under-recorded American composer.

Ted Hoyle, the cellist on this recording that includes two sonatas for cello and piano observes: "Of the four chamber works by Joseph Fennimore on this recording, two are programmatically linked to Marcel Proust's monumental Remembrance of Things Past. For half of the 1970s, Fennimore was obsessed with the work, and viewed the world through Proust-colored glasses. His first composition to reflect its input was the Quartet (after Vinteuil)...Swann in Love is the second homage to Proust. A sonata in one movement, there are two theme groups in the tonic and dominant respectively, development of this material, and a restatement of these themes in the tonic. Fennimore's First Sonata for Cello and Piano is full of epithets as to its interpretation. Both have four movements and modify traditional forms...Dominated by the piano, The Second Sonata with its Spanish cast, is a more complex work. The composer considers the four movements to be elements of a large-scale sonata form in which 'moods, melodic fragments - even keys themselves - are returned to for the sake of their peculiar color.'"

Theodor Berger was born in the village of Traismauer-on-the-Danube on May 18, 1905. He was a pupil of Franz Schmidt at the Academy of Music in Vienna. His compositions include a number of works for large orchestra, chorus, string quartet and music for radio, television and film. His style and technique vary according to the nature of the individual work at hand. The titles of his compositions are almost always organic, conveying the nature of each work with clarity. One of his works, Malinconia, written in 1933, brought admiration from Richard Strauss. The list of conductors who promoted Berger's music includes Furtwängler, Kleiber, Krips, Ormandy and Steinberg. However, this recording is the only one of his music that is available today. This compact disc presents the first recordings of the orchestral compositions of Miguel Del Aguila. Born in Montevideo, Uruguay in 1957, Del Aguila moved to the United States in 1978 and studied at the San Francisco Conservatory and in Vienna where he has lived since 1982. The rhythmic propulsiveness in much of Del Aguila's music derives from Latin American sources. Another influence is American blues. Beyond these influences, there is a very personal sense of drama in his music, which is partly the result of "programs" or stories of the composer's own devising - which is the case for the works on this recording.

Stephen Dankner attended New York University, Queens College and the Juilliard School where he received his Doctor of Musical Arts. His principal composition teachers were Roger Sessions and Vincent Persichetti. To date he has composed more than 50 works including music for synthesizers, computers and solo instruments. Currently he is Chairman of the Music Department of the New Orleans Center for Creative Arts, an arts high school in New Orleans and also teaches both undergraduate and graduate advanced music theory, composition and electronic-computer music at Loyola University's College of Music. About Songs of Bygone Days Dankner writes: "The lyrics of the five songs that comprise this cycle of songs for soprano and baritone were assembled from songs that were successful in the 1890s. The idea of composing new music to popular song lyrics nearly 100 years old intrigued me, as it offered the possibility of merging the popular idiom of the past with a contemporary approach to song composition. Such a style could at the same time borrow from a previous commercial formula yet infuse it with an enriched scope of expression through the more elaborate melodic and harmonic treatment found in concert music." Mr. Dankner carries out his ideas beautifully in these tuneful, accessible songs. "The conception for my Piano Sextet originated from a desire to return to purely instrumental composition after a period of time in which I had composed mainly electronic music." In this music Dankner has created a big, bold, romantic work, worthy of the name sextet.

This recording contains some of William Mayer's finest music. "William Mayer's music sings out with real beauty, both in the vocal writing (he is especially known for his operas and songs) and the instrumental settings," wrote John Rockwell of the New York Times on the occasion of the composer's sixtieth birthday. And indeed this recording gives the listener a rich sampling of his vocal music; opera, songs and choral compositions. But, just as importantly, it contains two purely instrumental works - Abandoned Bells for piano and Inner and Outer Strings for string orchestra - which must count as two of the composer's most haunting scores. Mayer's career has contained such memorable events as Mrs. Eleanor Roosevelt narrating his Hello World, a musical trip for orchestra and Leopold Stokowski premiering his Octagon for Piano and Orchestra.

Three generations of fine American composers are represented on this disc. Copland's "Movements" and "Two Pieces" are his only works for string quartet as is the "First Quartet" of the great Pulitzer Prize winning composer, Robert Ward. About this work he has written: "By the time of the composition of the "First String Quartet," I had reached the conclusion that two cardinal principles prevailed in those works, new or old, which makes a lasting impression on the listener. The first is that the work must be based on provocative musical ideas that are clearly stated and, in the case of longer works, are stimulating to the composer's creative powers. The second is that an aesthetically satisfying work unfolds in sounds which produce waves of alternating tension and relaxation in the listeners, commanding their full attention. I had arrived at these conclusions by analyzing many works from many musical periods." This string quartet is an important work in Dr. Ward's output, appealing and imaginative. Stephen Jaffe was born in Washington, DC. He was trained in composition at the University of Pennsylvania and the Conservatoire de Musique in Geneva, Switzerland. To date, this is the only string quartet that Mr. Jaffe has composed. In 1991, it was one of four winners in the Kennedy Center Freidheim Awards for Excellence in Chamber Music Composition. Currently he serves on the music faculty of Duke University. This is the world premiere recording of the quartet.

Richard Wilson was born in Cleveland and studied piano, cello, theory and composition at the Cleveland Music School Settlement. In 1963, he graduated from Harvard and took his mater's degree in music composition at Rutgers in 1966. It was at this point that he joined the Vassar faculty, where he is currently Professor of Music. In 1992-93, he was the Composer-in-Residence with the American Symphony Orchestra. In that same year, he was also a Guggenheim Fellow. For those not familiar with Wilson's music, it is not avant-garde, nor is it abashedly tonal. It is well crafted and beautifully performed on this disc. Note the number of excellent musicians who perform on this disc including the great cellist, Fred Sherry, the great English flutist, John Solum, and Walter Trampler, one of the greatest violists who ever lived.

Joel Brown, the guitarist on this recording of works by American composers says in the booklet notes, "My original idea to record guitar quintets by Boccherini and Giuliani changed abruptly after meeting Andrew York at a Los Angeles Guitar Quartet concert. York's infectious compositional style appealed to me and I found myself working new music into what had been a 19th century program. When I approached Andrew about writing for my recording he enthusiastically accepted. This changed everything for me; if Andrew York was interested, then why not other composers as well? Before I knew it, five composers - some of them old friends, some of them new friends - were writing music for a now rethought ensemble of guitar, flute and cello. Several times during this project when the inevitable problems arose, I felt that even if everything were to fall through, I was still infinitely richer for the experience. To work so closely with these fine composers was a rare opportunity. And working with such incredible musicians and good friends as Jan Vinci and Ann Alton was a great pleasure. But the greatest reward is the privilege of premiering this music."

Donald Erb, described by Nicolas Slonimsky in the Bakers Biographical Dictionary of Musicians as a "significant American composer," was born in Youngstown, Ohio in 1927. His orchestral music has been played by literally every major orchestra in the United States and many in Europe, Asia and Australia as well. He has had commissions from the Chicago Symphony Orchestra, the Cleveland Orchestra, the St. Louis Symphony Orchestra, the Baltimore Symphony Orchestra, the Dallas Symphony Orchestra, the Houston Symphony Orchestra and others. Erb studied at Kent State University, the Cleveland Institute of Music (where he now teaches), and Indiana University. He has received grants and fellowships from the Rockefeller, Guggenheim, and Ford Foundations and has served as composer in residence with the Dallas and St. Louis Symphony Orchestras. Among the many organizations that have honored him are the International Rostrum of Composers, the Library of Congress, the National Endowment for the Arts and the American Academy of Arts and Letters.

Jay Weigel was born in New Orleans and graduated from Tulane University in 1981, while studying composition privately with Roger Dickerson. After receiving a Masters of Music Degree in Composition from the University of Southern California, he returned to New Orleans. In 1984, he was appointed Music Director of the Contemporary Arts Center and Lecturer of Composition and Theory at Xavier University. Most recently, Weigel's work on the R.E.M. hit album "Out of Time" earned him a quadruple-platinum award. About his music, he writes: "The music on this compact disc was composed between 1987 and 1992. This music documents a period of personal discovery and revelation. As I wrote each work, I felt a step closer to discovering the elusive voice I've always strived to find. That voice is ultimately expressed through my use of the raw musical material present in New Orleans and its music. My personal experience with New Orleans music has shown me the wealth present in its musical culture, a culture that served as the catalyst for all modern, popular music; a culture whose melodic improvisations spawned jazz; a culture whose rhythmic patterns breathed new life into the field cries that turned into the Blues as it made its way up the Mississippi River to Chicago; a culture whose musical traditions are passed from parent to child and friend to neighbor; a culture still growing, experimenting, playing and influencing music world-wide; a culture whose emphasis on acoustic instrumentation defies the vagaries of modern electronic renderings; a culture relatively untapped by most composers working in the written tradition. The compositions on this disc reflect my New Orleans spiritual heritage. They reflect the unique feel of heart-pounding parade drumming, the smell of fresh rain on the sub-tropical streets; the unique blast of a heavy left hand on an upright piano." Wisdom from program notes on a CD and fine, accessible music as well.

Roy Harris's life (1898-1979) was a singular phenomenon: humble beginnings on the family farm; truck driving to support his musical studies; study in Paris with Nadia Boulanger supported by a patroness; performances of his symphonies by Koussevitzky, Toscanini, Ormandy, and Bernstein; a series of academic positions around the country; marriage to a brilliant pianist; a large family of his own; and hard work up to the end of his days. Today's foremost authority on the life and works of Harris, musicologist Dan Stehman, has this to say about the piano works: "...the piano pieces reveal Harris's exceptional skill as a miniaturist, working concisely and unpretentiously to create clearly defined moods. For many listeners these compositions have served as the initial introduction to his music and, indeed, they remain one of the easiest approaches to his style and technique." In 1942 the Sonata for Violin and Piano was awarded the Elizabeth Sprague Coolidge Medal for eminent service to Chamber Music. Yehudi Menuhin, Josef Gingold, Henri Temianka, Sidney Harth, and Eudice Shapiro are among the distinguished violinists who have programmed it. Although Harris sanctioned cuts in the first and last movements, the performance recorded here presents the sonata in its entirety.

"All the works on this recording are from the late 1970s and early 1980s," comments Dan Asia. "They reflect my interest then I combining the energy of vernacular music (pop and jazz), with the structural and linguistic possibilities of contemporary classical music, and all of this refracted through the sonic possibilities suggested by the current nascent world of electronic music. While some of the works presented are solely electronic, and others are for acoustic instruments alone, my interest was in the cross fertilization that can occur between these genres." Dan Asia, composer-in-residence with the Phoenix Symphony, was born in Seattle, Washington in 1953. He has been the recipient of the most competitive grants and fellowships in music including a Meet The Composer-Reader's Digest Commission, a Guggenheim Fellowship, four NEA Composers Grants and ASCAP and BMI composition prizes. After receiving his B.A. degree from Hampshire College, where he studied music and European History, Mr. Asia attended the Yale School of Music, receiving the Master of Music degree. His major teachers include Jacob Druckman, Stephen Albert, Gunther Schuller, Isang Yun, Arthur Weisberg, Bruce MacCombie, Ron Perera, and Randall McClellan. He presently teaches at the University of Arizona in Tucson.

It might be said that the composers on this recording represent three aspects of what Gilbert Chase called "Boston Classicism." Each composer had close ties to the musical life of Boston, and in his own way, each composer reflected European classical traditions. Typical of turn-of-the-century ideals, the two American-born composers, Parker and Heilman, studied in Germany, then brought back to New England the romantic European style that was then considered more acceptable than less cultured American styles. Paradoxically, Samuel Adler was born in Germany, but he studied in Boston. Even so, his style is solidly based on European classic techniques, especially on his love of Bach and Handel. The Rawlins Piano Trio was founded in the summer of 1987 at the University of South Dakota and named by the trio in honor of their principal benefactors. The trio has dedicated itself to performing works by American composers, as well as the more traditional piano trio literature. Performing throughout the United States, the Rawlins Piano Trio has been invited to perform for the International Sonneck Society for American Music and continues a very active concert schedule.

"I composed The Dancing Bird in response to a need expressed by Francesca Vanasco for a number of original works for the unusual combination of flute, cello, bass and vibraphone that make up Alborada Latina, the chamber ensemble for Latin American Music," says Thad Wheeler. "The Dancing Bird was begun after I received a diagram of a Spanish Sevillanas from Basilio Georges. I used the 47 bar form as a framework for "Sevillanas Magicas," a Spanish sevillanas with an American accent. I hen went on to write "Bulerias," "Purple Night," and "Scherzo Merenque," integrating structural and developmental devices used by Beethoven with flamenco and Venezuelan rhythms and my own melodic and harmonic materials. The last piece composed for The Dancing Bird was "Glimmerglass." I wrote this piece while spending a great deal of time house-hunting in Cooperstown, New York in the late winter-early spring."

Howard Hanson (1896-1981) was a distinguished American composer, educator and preeminent advocate of American music. He belonged to that select group of American composers born in the last decade of the nineteenth century - Walter Piston, Roger Sessions, Randall Thompson, Roy Harris, Virgil Thomson and Aaron Copland - who personified the emergence of American classical music as a distinctly national, as opposed to European, cultural force to be taken seriously. He was the leading practitioner of American musical Romanticism, much in the tradition of Jean Sibelius, Edvard Grieg and Carl Nielsen in Scandinavia. Hanson dedicated his professional life to the encouragement, creation and preservation of beauty in music, believing it to be an art form possessing unique power to ennoble both performer and listener, and, by extension, mankind. Throughout his career, Hanson never departed from his cherished ideals of beauty, clarity and simplicity of utterance and his conviction that musicians and audiences would respond openly to each other on this basis. He abhorred ugliness in music, dismissed as worthless intellectual abstraction for its own sake, and fought what he perceived to be the growing alienation between composer and audience. A lifetime of composition reflects this conviction, as did his lengthy tenure as a teacher and administrator.

Octagon is the new music ensemble of the University of California. It offers an important opportunity to young composers and performers in the UC system. The group creates a pre-professional opportunity to explore a large body of new literature from composers at the University of California. The works chosen for performances represent a broad spectrum of styles from the most experimental to the most traditional. The ensemble tours annually throughout the University of California system and elsewhere.

Octagon is the new music ensemble of the University of California. It offers an important opportunity to young composers and performers in the UC system. The group creates a pre-professional opportunity to explore a large body of new literature from composers at the University of California. The works chosen for performances represent a broad spectrum of styles from the most experimental to the most traditional. The ensemble tours annually throughout the University of California system and elsewhere.

Michael Horvit (b. 1932) is Professor of Theory and Composition at the University of Houston School of Music, where he has chaired that department since 1967. For 25 years he served as Director of Music at Temple Emanu El in Houston. During his studies at Yale, Harvard, Tanglewood and Boston University, his composition teachers included Aaron Copland, Lukas Foss, Walter Piston, Quincy Porter and Gardner Read. His works range from solo instrument and vocal works to large symphonic compositions, choral cantatas and operas, many written specifically for the Jewish liturgy. Among the numerous ensembles and organizations that have commissioned his works are the Houston ballet, the Houston Symphony, the National Symphony of Mexico, the Chicago Chamber Brass, and the Esterhazy String Quartet. He is the recipient of awards from organizations that include BMI, ASCAP, the Martha Baird Rockefeller Foundation, the National Endowment for the Arts, the Fridge Trust, and the University of Houston.

George Walker, the Pulitzer Prize winning composer, began to study composition seriously after graduating from Oberlin College. After having been accepted at the Curtis Institute of Music in Philadelphia to study piano with Rudolf Serkin, he was accepted into the composition class of Sosario Scalero, teacher of Samuel Barber and Gian-Carlo Menotti. He completed his first string quartet before embarking on a career as a concert pianist. In 1956 he became the first black recipient of the Doctor of Musical Arts Degree from the Eastman School of Music. Although his degree was in piano (he never studied composition at the Eastman School), he composed his Concerto for Trombone and Orchestra, Second Piano Sonata, and Sonata for Cello and Piano while residing in Rochester, New York. In 1957, as a Fulbright Fellow in piano, he continued to compose under the guidance of Nadia Boulanger in Paris. Returning to the United States in 1958, he began to amass a catalog of more than 70 published works that have been performed by renowned ensembles and conductors throughout the United States, Europe, and Asia. The composition dates of the works on this recording range in date from the sixties to the mid-eighties and present a variety of forces. There is a work for organ, Variations for Orchestra and a cantata for soloists, boys choir and chamber orchestra. The cantata is performed by the Boys Choir of Harlem on this recording.

American composer Benjamin Lees was born on January 8, 1924 to Russian parents. Shortly after his birth, the family moved to San Francisco where he began to study piano. After military service in World War II, Mr. Lees began the study of composition at the University of Southern California. He soon came to the attention of the legendary American composer George Antheil, the famous "Bad Boy" of music. Lees left the university and began studies with Antheil in advanced composition and orchestration that lasted almost five years. The recipient of numerous awards and commissions, Lees's works have enjoyed numerous performances by such legendary conductors as George Szell, Erich Leinsdorf, Eugene Ormandy and Zubin Mehta, among others. Mr. Lees's music is unmistakably American in its rhythmic energy and directness. But it is markedly different from what audiences have come to identify as American music as associated with Aaron Copland and Leonard Bernstein. The influence of his eight-year stay in Europe, of the Surrealist ideas to which Mr. Lees was exposed there, the avoidance of folk material, a keen appreciation of the visual arts, an ascorbic wit, and an unerring sense of the true and expressive combine to make his a singular voice in contemporary music. His craft is formidable, but even more so is his awareness of the essence of music, and it is this awareness that is so appreciated by audiences.

Donald Wheelock is a native New Englander and has taught at Smith College in Northampton, Massachusetts since 1974 where he is currently Professor of Music. He studied composition with Edgar Curtis and Kenneth Leighton prior to receiving his Master of Music degree from the Yale University School of Music, where he was a student of composer Yehudi Wyner. A frequent guest at the MacDowell Colony in New Hampshire, he has twice received a Guggenheim Fellowship. In addition to the string quartets, Wheelock has written many chamber ensemble works, solo instrumental compositions, and numerous vocal, choral and orchestral works. The Ciompi Quartet has been in residence at Duke University since 1965. The current members of the quartet are professors in the Department of Music at Duke, where they perform, teach strings and chamber music, and bring the living tradition of string quartet playing into the University as well as to many cities in the region. In addition to their performance of the masterworks of the Classical and Romantic periods, the Ciompi Quartet has a special interest in commissioning and performing music by contemporary composers.

Considered a magnificent instrument for chamber music since the 18th century, the viola nevertheless had difficulty establishing itself as a solo instrument. Its rich, sandy tone and middle range, indeed the very qualities that make it an ideal chamber music partner, historically deterred composers from placing the viola in the spotlight. It has only been in the 20th century that the viola has come into its own as a solo instrument. This change has been wrought by contemporary composers searching for new timbres to explore, as well as by exceptional performs whose commissions and performances inspired dozens of composers to view the viola as a viable solo instrument. This trend has been especially well-developed in the United States and the four works for viola and piano on this disc exemplify the expressive range of which the viola is capable. Lawrence Wheeler is a professor at the University of Houston School of Music. Principal Violist of the Houston Grand Opera Orchestra, he is former Principal Violist of the Pittsburgh Symphony and has been Co-Principal of the Minnesota Orchestra and guest Principal with the Dallas and Houston Symphonies. A graduate of Juilliard, his teachers have included Walter Trampler and Leonard Mogill.

This is the second volume in the Albany Records' series devoted to the music of Stephen Dankner (see TROY067 - Songs of Bygone Days). Dankner's music is highly accessible and very well crafted. He studied with Roger Sessions and Vincent Persichetti. Currently he is the chairman of the Music Department at the New Orleans Center for the Creative Arts, which is an arts preparatory high school. He is also on the faculty of Loyola University's College of Music where he teaches composition and electronic-computer music.

In her program notes for this delightful new album the flutist Sue Ann Kahn writes: "One of the flutist's most precious legacies is the treasury of short pieces by Jacques Ibert. Gems from Ibert's most fertile years, these works charm, touch and amuse player and listener alike. As a young flutist, I made the acquaintance of Divertissment and the Wind Quinette, Trois Pieces Breve, savoring particularly the mischief in the first piece and the lightheartedness of the second. I devoured recordings of the Concerto and of Entr'acte by the great flutist Julius Baker, and I sensed a true affinity between Ibert's exotic but playful style and the sensuous color, melodic tenderness, and sparkle idiomatic to my chosen instrument. After several decades of performing Steles Orientees, Piece, Entr'acte, and Jeux, I found myself as enamored of Ibert's music as ever and, spurred by the hundredth anniversary of his birth, decided to gather his flute chamber works onto one disc. Jacques Around the Clock presents pieces as different as noon and night, from the whirlwind Entr'acte to the quiescent Aria. Unmistakably Spanish in flavor, the popular Entr'acte, inspired by Segovia's playing, begins the disc in its original flute and guitar scoring and returns at the end in the version for flute and harp."

Curtis O.B. Curtis-Smith was born in Walla Walla, Washington in 1941. His teachers included David Burge, Alan Stout, Ken Gaburo, and Bruno Maderna. He has taught composition at the University of Michigan and is currently Professor of Music at Western Michigan University in Kalamazoo. In 1994, Leon Fleisher performed his Piano Concerto for the Left Hand and Orchestra with Neemi Jarvi and the Detroit Symphony Orchestra. Dennis Russell Davies and the American Composers Orchestra have performed his Great American Symphony (GAS!) This disc presents a fine cross section of Mr. Curtis-Smith's chamber music. Note that Dennis Russell Davies is the piano soloist in the Sextet for Piano and Winds, a work that was written for, and is dedicated to him.

One of the major commitments of Albany Records is to the music of America. Within this field one of our very specialized areas of interest is unknown music from our country's Romantic Era. This new recording of music by Arthur Foote (1853-1937) and Amy Beach (1867-1944) is a perfect example of what we are all about; two fine young American performers playing music which is so very deserving of being heard, especially by larger audiences. Both Foote and Beach have composed music that is very well written and immediately appealing. Violinist Sarah Johnson also appears on Albany Records performing Robert Ward's Violin Concerto with the Winston-Salem Symphony (see TROY126).

Robert Starer was born in Vienna in 1924. He entered the State Academy at age 13. Soon after Hitler's annexation of Austria in 1938, he went to Jerusalem and continued his studies at the Palestine Conservatory. During World War II, he served with the British Royal Air Force. In 1947, he came to New York City for post-graduate study at Juilliard. He also studied with Aaron Copland at Tanglewood in 1948. In 1957, he became an American citizen. He taught at Juilliard from 1949 to 1974 and at Brooklyn College and the Graduate Center of the City University of New York from 1963-1991. In 1994, he was elected a member of the American Academy of Arts and Letters. His book, Continuo: A Life in Music was published by Random House in 1987. His complete works for solo piano have recently been published in one volume. In 1986, Itzhak Perlman recorded his Violin Concerto with the Boston Symphony Orchestra under Seiji Ozawa. This disc offers a selection of Mr. Starer's chamber works for voice and various instruments.

Those of you with great memories will remember that this recording was once available on the Vox-Turnabout series of American Music. The stunning thing about this CD premiere is the quality of the recording itself. This was never obvious from the original LP. George Rochberg needs no introduction, but Roque Cordero, the Panamanian composer born in 1917, is woefully underrepresented in the catalog. He is a composer of stature and this Quintet is a fine composition, as is the Quintet by Robert Palmer who was born in Syracuse, New York in 1915. Palmer studied at Eastman with Ernst Bacon and Howard Hanson and for many years taught at Cornell.

This is the third release in Albany Records' continuing series of recordings devoted to the music of the American composer George Walker. This release presents a further selection of Mr. Walker's chamber music. For this recording, Walker is joined by other members of his family who are also performers. His son Gregory, a violinist, is the concertmaster of the Boulder Philharmonic Orchestra. He is also a Professor of Music and Director of Ensembles at the University of Colorado in Denver. He joins his father in a performance of the Violin Sonata No. 1. Ian Walker has pursued a career as an actor, director and producer of numerous theatrical performances. He is the speaker in the Poem for Soprano and Chamber Ensemble.

This recording has its impetus in a retrospective concert of Chou Wen-Chung's music that took place at Merkin Concert Hall in New York City on April 1, 1993, in honor of his 70th birthday. Chou was born in China in 1923. He developed an early fascination with music and was educated in the 1920s through the 1940s against a backdrop of upheaval in a country recovering from Western colonialism, Eastern feudalism, and World War II. Urged to help rebuild China, he studied civil engineering instead of music, earning his degree in 1945. He came to the United States in 1946 on a four-year architecture scholarship to Yale. He gave this up to pursue his career in music. He studied with Varese, Martinu, Slonimsky, and Luening, attending the New England Conservatory of Music and Columbia. In 1978, he founded the Center for U.S. China Arts Exchange. It has designed and implemented many far-reaching projects in the arts. Writing in "Contemporary Composers" in 1992, Brian Morton noted: "It is difficult to overestimate Chou Wen-Chung's importance His work is of considerable significance in the slow rapprochement of Western and Eastern musics in the second half of he 20th century." In the New Grove Dictionary of Music and Musicians, Edward Murry wrote, "Chou's music is a remarkably successful fusion of Chinese tradition and sophisticated Western vocabulary and style. Almost all his major works take as points of departure Chinese poetry, painting, calligraphy or philosophical and aesthetic ideas, and he is conscious of his place in the long tradition of Chinese art."