Catalog

Why transcribe? The process allows more musicians to experience the magnificence of a previously inaccessible work firsthand. Most of the original elements remain. Style, tonal relationships, form and structure must not be compromised, while still being sensitive to idiomatic features of the new instrument. University of Illinois Horn Professor Kazimierz Machala has been cited by Horn Call Journal for his marvelous skills, and he has found ample new material in Schubert's beautiful songs. Besides, Schubert never wrote any pieces for solo horn, making these arrangements an absolute boon for the avid horn player and all those enthusiastic listeners for whom the horn calls! Richard King began serving as principal horn of the Cleveland Orchestra in 1997, having joined the orchestra as Associate Principal at age 20 in 1988. He is a graduate of Juilliard and Philadelphia's Curtis Institute, and his principal teacher was former Cleveland player Myron Bloom. King is on the faculty of the Cleveland Institute of Music, and as well he has served on the faculties of The Oberlin College Conservatory of Music and Carnegie-Mellon University.

Composer and pianist Ken Benshoof was born on a Nebraska farm. He went through high school in Fairbanks, Alaska. Studies at Pacific Lutheran University and the Spokane Conservatory were followed by a two-year stint in the Army. He later attended the University of Washington, San Francisco State University and the Guildhall School in London. His most influential teachers included John Verrall, Roger Nixon, George Frederick McKay and Alfred Neiman. Primarily a composer of chamber pieces, Benshoof has received commissions from a wide variety of sources, most notably the Kronos Quartet. Benshoof's music often includes elements of folk and jazz mixed with influences from Scarlatti, Ravel, Ives, Gershwin and Rachmaninov. The composer writes, "The 24 Preludes were composed almost without interruption over several months. I chose that name partly because of the joy I still derive from sets with the same title, most notably those by Bach, Chopin and Rachmaninov. I have not intentionally borrowed material from those composers but I did steal the key relations from Chopin- his way of going through the 24 major and minor keys." Patti's Parlour Pieces were written in 2000 for the composer's friend, bookstore owner Patti McCall. This collection of pieces spans a large range of emotions, textures and tempi. There are jazzy blues sounds in pieces 1 and 5, and propulsive works like number 9. There are also pieces that would be right at home in the concert hall such as the jazzy piece No. 22 and the especially Rachmaninov-influenced No. 23.

Gary Schocker is best known as the most published composer for the flute, but also is a world-renowned flutist. He has turned his attention to composing for solo harp, an instrument he is now playing. For this disc he has arranged 21 favorite Christmas carols for harp, performed by the ever-popular harpist Emily Mitchell. Ms. Mitchell's 30-year career includes numerous recordings, as well as performing and teaching around the world. In the words of the Washington Post, "Mitchell commands a vivid palette of colors and uses them with imagination."

Gary Schocker, best known as the most published composer of works for flute, has produced and published a dozen works for solo harp, including two books of arrangements of Christmas carols. This recording follows the release of volume 1 in 2013 — both performed by the internationally known harpist, Emily Mitchell. Mitchell's 30-year career includes her popular recordings for RCA Victor, teaching at New York University and Purchase College, master classes at major conservatories around the world, and as an established name in the television, motion picture and recording studios of New York City. A graduate of Eastman and the Royal College of Music, she is the recipient of numerous awards and prizes including First Prize at the 7th International Harp Contest in Israel. She now teaches at Stephen F. Austin State University.

The virtuoso pianist Eunbi Kim performs concert music by the exploratory artist Fred Hersch on this recording. Kim's recital and recording projects are frequently sparked by a fresh artistic obsession, and often present the audience with intimate and challenging subject matter. Her genre-defying, often interdisciplinary recitals have been presented in prestigious venues across the United States. Kim is a perfect match for Fred Hersch's music, which is known for its personal and expressive pianistic style. While this is a recording of his concert music, Hersch is also well known as an innovative pianist in jazz, being credited with more than 40 albums. He is the author of Good Things Happen Slowly: A Life In and Out of Jazz.

With the exception of the Ravel, trombonist Chris Buckholz has chosen a program that has rarely, if ever, been recorded on trombone. Buckholz is a virtuoso crossover artist in both classical music and jazz. He is on the faculty at the University of Northern Iowa where he received the Outstanding Teacher Award in 2010 and was the lead trombonist for the Army Jazz Ambassadors from 1997 to 2005. A graduate of Wake Forest University, Yale and the University of Michigan, Chris has played on hundreds of studio recording sessions and toured internationally. He has been a clinician at schools and universities throughout the U.S. and his recording credits include an album with The Four Tops on Motown Records.

The brilliant composer/organist Carson Cooman has selected compositions for this recording that are unified by their debt to early music (most especially its modality) as well as an economy of means in their construction. All are built from simple musical materials, elaborated and developed by their composers to create compositions that inhabit musical spaces of an often spiritual character. Five American composers (Patricia Van Ness, Jim Dalton, Tim Rozema, Al Benner and Harold Stover) are featured along with Swedish composer Thomas Aberg and Slovakian native Peter Machajdík. Cooman specializes in the performance of contemporary music and more than 130 new compositions have been written for him by composers from around the world. He performs on the Organ of Our Lady in Adergas in Velesovo, Slovenia, an organ built in the Thuringian Baroque style.

Hailed as "one of the foremost performers and teachers of trumpet in the U.S.," Richard Stoelzel maintains an active career as an international soloist, chamber and orchestral musician. He began his career as solo cornet with the U.S. Coast Guard Band. As a soloist he has performed throughout the U.S. and abroad including three tours of China and has been named Distinguished Visiting Professor at the Shen Yang Conservatory of Music. This is his second recording for Albany Records.

Robert Weirich leads an extremely active career as a pianist, teacher, author and composer, with many awards and articles to his credit, and with more than 30 concerto performances with such conductors as David Zinman and Jose Serebrier. Of Copland’s piano music, he writes, “Aaron Copland had a life-long love affair with the piano…he entrusted the piano with three of his most important, iconically personal works. These compositions hold their own with those of any composer from any period – a pianist can program them alongside Bach, Beethoven, Schumann and Brahms, without fear that the American work suffers in comparison. For sheer originality, compositional craft and profundity of utterance, here is music with a complete mastery of voice – no one but Copland could have written these pieces.”

Dr. H. Leslie Adams is a native of Cleveland who studied voice, piano, conducting and composition at Oberlin. The following are the composer's impressions on these pieces, taken from the printed program that accompanied the Cleveland recital of February 2002. "Welcome to my world of music. Allow me to share with you my thoughts and feelings through this unique medium of expression. These Etudes for Piano are a personal labor of love. They were begun to fill a void in my creative catalog of works. Up until then, only a few short pieces existed; now, with the Etudes, a quite extensive amount of material is at hand. Created primarily with the concert pianist's repertoire in mind, these studies can easily be played by a number of pianists at various levels of development. These are essentially studies of varying styles, moods, tonalities, and thematic natures - each providing different technical challenges, while expressing my personal sense of beauty." Jamaican-born Canadian pianist Maria Thompson Corley, gave her first public performance at the age of eight. Her undergraduate work was completed at the University of Alberta in Edmonton, and she received both Masters and Doctorate degrees in piano performance from the Juilliard School, where she was a student of Gyorgy Sandor. Formerly an assistant professor at Florida A & M University, she currently serves as staff accompanist at Millersville University in Lancaster, Pennsylvania.

The music of Charles Wuorinen is well known for its formidable intellectual rigor, its daunting notational complexity, and the extraordinary virtuosity required of its performers. It is also noted as a seminal contribution to the repertoire and theory of "American Serialism," a catch-all term describing compositional techniques developed by mid-century American composers (especially Milton Babbitt) from the 12-tone method of Arnold Schoenberg. Just the same, Wuorinen is, in many ways, a traditionalist, for whom music still possesses certain inalienable truths and standards. Seeking to be evolutionary rather than revolutionary, Wuorinen has never sought to denigrate, ignore, or replace music of the past. Nor has he ever indulged cynically in pandering, disposable "entertainment music" designed for mass consumption. Instead, his compositions aspire to an idealistic potential future. The selections on this compact disc are excerpted from nearly 35 years of prolific compositional activity, and although each work is a unique example of musical ideas and compositional technique, all have in common expert craftsmanship, an engaging rhetoric, and a satisfying sense of completeness. Above all, these works possess an exuberant musicality, a striking freshness and vigor, and an intelligence that invites and rewards attentive, active listening.

Born in Buenos Aires, Jorge Liderman is quickly becoming one of the most highly-regarded South American composers of today, with his works being performed worldwide. Though his music is experimental, it is also extremely colorful, with a strong nationalistic undercurrent. Aires de Sefarad (Airs from Spain) is a cycle of 46 songs without words for violin and guitar, and although many of them are love songs, they vary in character and their musical nature. These songs highlight, at the core of their musical structure, unchanged original melodies that were sung in Ladino by the Spanish, or by the Hebrew, Sephardic Jews. After the Spanish Inquisition, a large number of Jews emigrated to Portugal, Tunis, Morocco, Turkey and Israel among other countries. After a 2003 visit to Spain, walking through the Jewish quarter in Cordoba and experiencing the vibrant life of the region, Liderman was inspired to write Aires de Sefarad. As he says, "This work reflects my impressions of past and present Spain in its vast and varied culture."

American composer, cellist, and arranger Alan Shulman (1915-2002) made a distinct and significant contribution to American music. He was a fellowship student at the Juilliard School studying both cello (with Felix Salmond) and composition (with Bernard Wagenaar.) He then continued his studies on cello with Emanuel Feuermann and in composition with Paul Hindemith. Shulman had a significant career as cellist, teacher, arranger and, of course, composer. He performed extensively as cellist of the Kreiner, Stuyvesant, and Haydn String Quartets, the Philharmonia and Vardi Trios, with An Die Musik, and as a charter member of both the NBC Symphony Orchestra under Arturo Toscanini and the Symphony of the Air. Shulman was a notable and active teacher for many decades. Primarily know for his Theme and Variations for Viola and Orchestra, his body of fine solo cello literature is virtually unknown today. This recording intends to begin raising awareness of this important music.

It's fitting that we present a CD of American works for oboe and English horn in various chamber combinations. The song-like quality of these two instruments has made them ideal for expressing long, melancholy musical lines as well as more agitated, pithy statements. Remember how it was virtually mandatory for the slow movement of a mid-20th century American symphony to begin with a deeply introspective melody on the oboe or English horn? These chamber works express a great variety of moods and sounds and diverse, individual styles, all distinctly American. Mark Hill's versatile career has included a broad range of orchestral, chamber and solo performing along with a consistent commitment to teaching. He has performed with the New York Philharmonic, the National Symphony, the Baltimore Symphony, the Orpheus Chamber Orchestra and the Academy of St. Martin-in-the-Fields. He has also performed with the New York Woodwind Quintet, the Aspen Wind Quintet and Chamber Music Northwest, with a concentration on contemporary music such as found on this CD. A pupil of Ronald Roseman and Roger McDonald, Mr. Hill is Associate Professor of Oboe and Chamber Music at the University of Maryland School of Music.

Unlike much of his other chamber music, Alec Wilder's solo piano works are miniatures, delicately balanced, and succinct. More than half the pieces and movements are under a minute in length as Wilder chose brevity in his expression, making his musical points in concise and contrasting musical statements. Given the rich, grand repertory for solo piano, Wilder never presumed that he could add to the huge output of the grand masters. Instead, he created little gems that challenge the artistry of the performer. The music on this CD, beautifully and elegantly performed and interpreted by pianist John Noel Roberts, marks the debut recording of many of Wilder's solo piano works. They are a treat to hear. John Noel Roberts is a consummate pianist and teacher who has demonstrated his interpretive skills, technical ability and his wide-ranging repertoire in solo and concerto performances in Australia, Hong Kong, Taiwan, Malaysia, Singapore, Thailand, India, Italy, Great Britain, Canada and the United States. Formerly Artist in Residence and Head of Music at the Western Australian Conservatorium of Music, Roberts has also served on the faculties at Furman University, the University of North Carolina at Charlotte and Mercer University. Currently he is Professor of Piano and Director of the School of Music at Stephen F. Austin State University.

Over the past few years, Albany Records' progressive releases of the piano music of Allen Shawn have made it clear that this is one of the most substantial and memorable bodies of work for the instrument of any living American composer. Because Shawn is one of the major American composer-pianists, someone who can take on fearsome technical demands and deliver real interpretive value as he surmounts them, these performances are especially important as documents not only of the music but also of the interpretation and performance of the works. In addition to his five piano sonatas, Shawn performs his Etudes and Five Piano Pieces. On the faculty of Bennington College, Shawn grew up in New York City. In addition to his piano music, his works include a Symphony; concertos for piano, cello, violin, and oboe and a double concerto for clarinet and cello as well as numerous chamber works for varied ensembles. This is the sixth recording on Albany Records devoted exclusively to his music.

Allen Shawn grew up in New York City and started composing music at the age of ten. He received his B.A. from Harvard where he studied with Leon Kirchner and Earl Kim, spent two years in Paris where he studied with Nadia Boulanger, and received his M.A. in music from Columbia University where he studied with Jack Beeson. Until 1985, he lived in New York City where he taught at the Mannes School and the Elizabeth Seeger School. He also worked as a pianist in pit orchestras on Broadway and at the New York Shakespeare Festival. Since 1985, he has lived in Vermont where he is on the faculty of Bennington College where he teaches composition. The bulk of his output is Chamber and piano music. He has also composed orchestral works, two operas with libretti by his brother, playwright Wallace Shawn, much incidental music for the theater and music for the film "My Dinner with Andre."

This CD of recent piano music by Allen Shawn provides the opportunity for repeated consideration of his very personal, confessional approach to the piano, as well as the sequel to musical topics more implicit than explicit in his first piano solo recording on Albany Records. Shawn's music reveals a unique and complete musical universe, the result of perfect fusion of the musical sensibility of the composer and the intellectual image of the work. Shawn's rare gift is his ability to confide his innermost thoughts and feelings through music that is at once well-crafted and emotionally accessible.

Slowly, over the past few years, Albany's progressive releases of the piano music of Allen Shawn have made it clear that this is one of the most substantial and memorable bodies of work for the instrument of any living American composer. The series showcases a composer whose range of expression, technique and tone are enviable. A multi-faceted artist, Allen Shawn (b.1948) was raised in a literary millieu and has carved out an additional significant career as a writer, but he is a composer first, and one of the major American composer-pianists. His output includes many orchestral works, three chamber operas, songs, choral music, chamber music and works for piano. He is on the music faculty at Bennington College. This is the third volume on the Albany Records series devoted to his music for piano.

Colleagues at the University of Arizona, flutist Brian Luce and harpist Carrol McLaughlin perform a program of original compositions and arrangements for their instruments. Known as an expert on Soviet-era Music, Dr. Luce has given lectures and recitals based on his award-winning dissertation on the subject of Edison Denisov's music for flute. A prize-winning performer, his recordings appear on the Albany and Citadel record labels. Ms. McLaughlin has performed in al the major concert halls of the world and as concerto soloist with orchestras from Russia to Japan. A prolific composer and writer, McLaughlin has published books, music and has 15 recordings in her discography.

Critically acclaimed clarinetist Christopher Nichols has recorded a cd of some of his favorite individual and consortium commissioning project, which are core pieces of his repertoire. In addition to works for clarinet and piano, there is a composition for woodwind quartet and one for countertenor, clarinet, and piano. Nichols is on the faculty at the University of Delaware. He performs regularly with orchestras such as the Pennsylvania Philharmonic, the Delaware Symphony Orchestra, and the Allentown Symphony Orchestra. He has performed as a soloist at national and international conferences and in 2015, was recognized with an Established Artist Fellowship from the Delaware Division of the Arts. His collaborators include pianist Julie Nishimura, who is also on the faculty at the University of Delaware; countertenor Augustine Mercante, who performs to great critical acclaim; composer/pianist Jennifer Margaret Barker; and the Christiana Winds.

Award-winning composer Alvin Singleton has written music for theatre, orchestra, solo instruments and a variety of chamber ensembles. A composer-in-residence with the Atlanta Symphony in the late 1980s and a student of renowned Italian composer Goffredo Petrassi, Singleton's works have been performed by the orchestras of Boston, Pittsburgh, Houston, Cincinnati, Cleveland, Philadelphia, Detroit and many more. Sing to the Sun is a set of five chamber works ranging from solo flute to large ensemble with chorus. Singleton exhibits in the recording of these five works the patience, appreciation of quiet subtlety, and psychological control that make for fine chamber music. Traditionally, chamber music is players' music and in that, traditionally "serious" (as are all five of the present works). But Singleton fans also expect to be caught up in the Singleton wit on one level or another - be it some unusual title or a certain odd presentation of notes laid out, usually early, in the piece itself. Both average listeners and cognoscenti find themselves caught up in wondering "what's next?" With this composer the listener is given clues that he or she is invited to participate fully in the musical experience about to unfold, something thought anathema by many recent composers.

The collection of classic and original rags offered by Gary Smart on this recording celebrates the lyrical side of this quintessentially American music. The ragtime genre is diverse, more so than the casual listener might think. There is the folk rag tradition, the brilliant, aggressive Eastern rag tradition, and the many interesting takes on ragtime composition that span the entire twentieth century from Artie Mathews to Charles Ives to William Albright and beyond. But Scott Joplin's classical musicality remains the source of Smart's inspiration. Joplin's marriage of a singing African-American rhythmic polyphony with the harmonic and textural structures of the European classical tradition is dazzling in its effectiveness and Mozartian in its elegance.

Peter Kairoff writes: "The music of George Whitefield Chadwick is not nearly as well known as it ought to be. Although widely respected and admired in his lifetime, his music fell into relative obscurity after his death, and is only recently performed once more with any frequency. His piano music, in particular, has suffered from neglect: very few of the pieces on this disc have ever been recorded before. Why this should be so remains something of a mystery, for many of Chadwick's piano works display the same inventiveness, charm and craftsmanship found in his orchestral and chamber works. The title of this disc - American Character - reflects the fact that all of Chadwick's piano music is written in the style of the 'Character Piece': brief, memorable evocations of one particular mood or image. Chadwick was certainly able to craft large-scale forms when he wanted to, as he did in his symphonies and chamber works to great effect. But his piano works are all on a smaller scale, like Mendelssohn's Songs Without Words, Grieg's Lyric Pieces, and so many other piano pieces of the nineteenth century. And like those models. Chadwick's piano music often evokes the world of Art Song, that wonderful and evocative fusion of poetry and music which was so popular in the nineteenth century. Like Art Song, these piano pieces capture a single vivid mood or visual image: a rushing stream, an aspen tree shuddering in the breeze, or even a group of noisy frogs. At his death in 1931, Chadwick was hailed by the influential critic Olin Downes in The New York Times as the composer who "represents most completely the body of serious American music." Taste shifted, of course, and all too soon Chadwick's music was forgotten, or dismissed as old fashioned. But now taste seems to be shifting back, and we are better able to appreciate the creativity, craftsmanship, and charm of a composer who himself was something of an American Character."

Just as a textilist weaves threads into a tapestry, a composer crafts a collage of timbres, rhythms and silence into a soundscape. Owning a fascination with creators and their art, distinguished flutist Jan Vinci has dedicated much of her career to commissioning composers and documenting their new works in performance and recordings. And, to give listeners a perspective, she has presented these works alongside classic flute literature. This cd highlights new and old works by some composers that Vinci most esteems. They are all Americans. First Prizewinner of England's International Electric Music Performance Competition and recipient of a Classical Recording Foundation Award, Jan Vinci has enjoyed an international career performing in famous venues in the U.S. and Europe. On the faculty at Skidmore, Vinci has served as president of the New York Flute Club and often presents master classes at colleges and flute festivals. This is her fourth recording for Albany Records.

Jeanne Golan gives us performances of music by American composer-pianists who understand and write beautifully for the piano, making a collection that ranges from the virtuosic to the introspective. With American Hand Stands, pianist Jeanne Golan continues her active involvement in the fostering of works by new composers and discovering relatively unknown musical treasures.

American Masterpieces for Solo Percussion Volume II continues the exploration by percussionist Tom Kolor of seminal works for percussion written in the 20th century by American composers. This disc contains works by some of the world's most noted composers including Charles Wuorinen, Morton Feldman, Ralph Shapey and Christian Wolf. A graduate of Juilliard, Tom Kolor is one of New York's most in demand chamber musicians. He regularly performs with the New York New Music Ensemble, Da Capo Chamber Players, Ensemble 21, and the Group for Contemporary Music, to name only a few. He has been a member of Talujon Percussion since 1995, presenting hundreds of concerts throughout the U.S., Europe, and Asia with this ensemble. A faculty member at the University of Buffalo SUNY, Kolor oversees the percussion department and directs the UB Percussion Ensemble and UB Contemporary Ensemble. He appears on more than 50 commercial recordings.

Known as a champion of contemporary music, percussionist Tom Kolor has performed with all the major new music ensembles, including the New York New Music Ensemble, the Group for Contemporary Music and Speculum Musicae, to name but a few. Kolor is a member of Talujon Percussion, which has given countless world premieres and made a significant contribution to the percussion quartet repertoire. He is on the faculty at the University of Buffalo SUNY, where he directs the percussion ensemble. For this disc of masterpieces for solo percussion, he has chosen two of America's composers who led the way in 20th century music development -- John Cage and Milton Babbitt.

Charles Vernon joined the Chicago Symphony Orchestra in 1986 as bass trombonist, coming from the Philadelphia Orchestra, where he had served in that same position since 1981. Prior to that he held identical posts with the Baltimore Symphony (1971 to 1980) and the San Francisco Symphony (1980-1981). A native of Asheville, North Carolina, Mr. Vernon attended Brevard College and Georgia State University. His principal teachers were Edward Kleinhammer (bass trombone) and Arnold Jacobs (tuba), both former members of the Chicago Symphony Orchestra. He has served on the faculties of Catholic University (1972-1980) and the Brevard Music center (1972-1981), he also taught at the Philadelphia College of the Performing Arts and the Curtis Institute of Music. He is currently on the faculties of DePaul, Northwestern and Roosevelt Universities. A clinician for the Selmer Instrument Company and a frequent guest artist for the International Trombone Association, Mr. Vernon has made numerous appearances as a soloist throughout the world. He performs on a New York Bach 50 bass trombone. In April 1991, with the Chicago Symphony Orchestra under Daniel Barenboim, he gave the world premiere of Ellen Taaffe Zwilich's Concerto for Bass Trombone, which was commissioned by the Orchestra for its centennial.

Highly acclaimed by the musical press for his exceptional performances of unusual material such as the music of Phillip Glass and David Ott, Paul Barnes has performed throughout the United States, Europe and the Asian countries. As student of the famed Menahem Pressler, he is Associate Professor and Co-Chair of Piano at the University of Nebraska-Lincoln School of Music as well as a teacher at the Bosendorfer International Piano Academy in Vienna. He now continues an ongoing series of American works for piano and orchestra, including two bona-fide classics, Gershwin's I Got Rhythm Variations and Rhapsody in Blue. Victoria Bond was a composition student of Roger Sessions and a conducting student of Sixten Ehrling at Juilliard (where she was the first woman to earn a doctorate degree in conducting in 1977). Her Ancient Keys is inspired by Barnes himself. His fascination with Byzantine Chant, leading to his role as Head Chanter at Lincoln's Annunciation Greek Orthodox Church, inspired Bond to write a concerto that expanded upon a melody known as Potirion Sotiriu ('Cup of Salvation'). Jeffrey Hass, associated with Indiana University, was commissioned by the University to write the Concerto for Amplified Piano, a work which allows the piano to be on a more equal footing with the powerful timbres of the wind ensemble.

Martin Amlin studied with Nadia Boulanger at the Ecoles d'Art Americaines in Fontainebleau and the Ecole Normale de Muisique in Paris. He received masters and doctoral degrees as well as the Performer's Certificate from the Eastman School of Music, where he studied piano with Frank Glazer and composition with Joseph Schwantner, Samuel Adler and Warren Benson. Formerly an instructor at the Phillips Exeter Academy and an Affiliate Artist at the Massachusetts Institute of Technology, Martin Amlin is currently Associate Professor of Theory and Composition in the College of Fine Arts at Boston University. He has been rehearsal pianist for the Tanglewood Festival Chorus and the Boston Pops Orchestra on many occasions. This recording premieres Amlin's two most recent sonatas, a variation set, and five preludes, linking them with works of two composers, Aaron Copland and Irving Fine, with whom he shares formative influences. Though of different generations, all three came under the distinguished tutelage of Nadia Boulanger at the American Conservatory at Fontainebleau, and all three frequently drew inspiration from the creative atmosphere of Tanglewood, the legendary summer music center in the Berkshires. Thus, Amlin's voice, while uniquely personal, speaks within a tradition which demands uncompromising compositional integrity and stylistic conviction. A comparison of his music with that of his eminent forebears amply justifies the association.

The highlight of this exceptional program of American piano music is the first complete recording of Dane Rudhyar's Third Pentagram. Its fourth movement, "Stars," is a great American nocturne. Rudhyar lived a fascinating life studying philosophy, Buddhism, alchemy and Asian music. He painted (the cover image of the booklet is one of his works), wrote poetry, science fiction and books on astrology. The disc showcases landmark works by four composers who had contact with each other during the 1920s. Richard Zimdars, a professor of music at the University of Georgia, has performed the works on this compact disc to critical acclaim: "He conjured the mythology of clusters with two "Irish Legends" of Cowell... in Copland's Variations of 1930 he compressed a chiseling technique up to heroic force." --Rhein-Neckar Zeitung, Heidelberg "The most valuable contribution came after intermission with the First Piano Sonata of Ives. Confident performances of this big and difficult work are not common, and Mr. Zimdars gave one." --New York Times