Catalog

Always in pursuit of versatility, Theresa Treadway Lloyd's career has been an evolutionary one. By 12 she was an accomplished pianist with her own roster of students in southwest Oklahoma. She honed these skills after receiving a full scholarship to the Sherwood Music School in Chicago at 15. Her mentor at Oklahoma University, Jack Harrold, discovered her rare and expressive coloratura abilities. She eventually joined the Metropolitan Opera Studio in 1970. In a few years her Carnegie Hall debut would receive acclaim and lead to engagements with the opera companies of Boston, Miami, Tulsa, etc., with a repertoire that includes all the major mezzo-coloratura roles. With this re-release of Blue Moods, Theresa memorializes some of the music of her late brother-in-law, Timothy Lloyd, whose work inspired the recordings of these songs by her contemporaries, Ned Rorem, Jack Beeson and Thomas Pasatieri. Departing from her bel canto style of singing, she explores American music with a more popular vocal sensibility. The result is a "cross-over" album long before the term was popular. She can also be heard in song cycles by Seymour Barab, William Bolcom, Libby Larsen and Andre Previn on TROY408, Music from Luzerne.

Born in Stockholm, Sweden, of American parents, Davidson spent her first three years living in the town of Malmo on the Baltic Sea. She later lived in Istanbul, Turkey, and, as a teenager, in Wurzburg, Germany and Tel Aviv, Israel, finally settling down in Oneonta, New York. Her mother, a professor of English literature, recognized her musical talents and started her on piano at an early age. She studied later at the Wurzburg Conservatory and Tel Aviv University. In the early 1970s, she went to Bennington College, Vermont, where she studied with Henry Brant and Vivian Fine. Over the years Davidson's music has been commissioned and performed by the Philadelphia Orchestra, the American Composers Orchestra, Relache Ensemble and Orchestra 2001, among many other ensembles. She has created works of integrity and fascination, honing an individual and expressive style. She has an ear for vivid harmonies and colors. Full of tender, haunting melodies that grow expansively, generously and graciously, her music is real, harmonic and sophisticated. Here are three works performed by the renowned Cassatt Quartet, now celebrating its 20th anniversary. In Paper, Glass, String and Wood, all twelve parts are played, through over-dubbing, by the Quartet, revealing its famed virtuosity and commitment to challenging, original new music.

This is volume 12 of the ongoing series Paul Freeman Introduces... where one of today's most innovative conductors presents exciting and fascinating new music for orchestra. Throughout this series he has presented several works by the outstanding African-American composer David Nathaniel Baker (a previous all-Baker disc is on TROY377). A native of Indianapolis, Baker holds the position of Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music. Among his teachers have been J.J. Johnson, Bobby Brookmeyer, Janos Starker, William Russo, Bernard Heiden and Gunther Schuller. Not surprising, Baker is equally at home in both classical and jazz performing and composing. He is highly prolific, with more than 2000 works to his credits and over 500 commissions from renowned individuals and ensembles. Kosbro (an acronym for "Keep on Steppin,' Brothers") is a perfect example of his style: propulsive, jazzy, rich in harmony and hard-hitting. His music can also be highly lyrical and memorably melodic, as in the "third-stream" Alto Saxophone Concerto. This is truly dynamic American music.

In this third release with the Dvorak Orchestra (the previous discs are TROY687 and TROY704), Julius Williams again displays his enthusiastic and original approach to American orchestral works. Composer/conductor Williams has been Music Director of the Washington Symphony Orchestra and has conducted orchestras and ensembles all over the United States. He has held faculty positions at Wesleyan University, the University of Hartford and the University of Vermont. He has received multiple ASCAP awards in composition over the years. As a native New Yorker, his memorial piece to the September 11, 2001 tragedy is obviously heartfelt, with a suggestion of optimism. McQuillan, a native of Amsterdam, New York, reveals strong lyrical gifts in Seasons of Gold. Brooklyn-born Qualliotine paints an expressive picture of the changing seasons around his Massachusetts home in Mystic Valley Autumn, and Berklee School of Music teacher Hojnacki reveals a strong narrative drive in his neo-Romantic Symphony No. 1. This disc is a perfect demonstration of the diversity that exists in modern American music.

A previous release on Albany TROY381 of vocal/orchestral works by Phoenix-born Robert Nelson revealed a composer with a rich, romantic style that could be compared to that of Howard Hanson or Samuel Barber. A pupil of Ingolf Dahl and Halsey Stevens, Nelson here reveals another side to his personality. Up South, suggested by both Krager and Marmolejo of the Moores School, reveals Nelson's affinity for both classical and jazz. The work is a veritable history of jazz, with each movement reflecting, respectively, the roots of jazz in the spirituals of the Old South, the Harlem Renaissance of the 1930s, and the emergence of jazz-fusion in the 1960s. The jazz spirit also imbues the duo-piano piece Impressions/Expressions. A more overtly pop sound runs through the arrangements for voice and orchestra of Creole Songs, and the final work, Shadows and Music, applies the story of the famed acting sisters Dorothy and Lillian Gish to the changes music went through during their heydays. This is a highly revealing look at a composer who came of age during the 1960s and 1970s.

Hall Johnson was a noted violinist, conductor and arranger of spirituals. The slave songs and spirituals that he heard his grandmother sing were a catalyst for him founding the Hall Johnson Choir in 1925. The ensemble appeared on Broadway and in movies such as Green Pastures. To quote Eugene Simpson, curator of the Hall Johnson Collection at Rowan University, "Johnson's entire compositional output was governed by three beliefs: that his role in life was the preservation and propagation of the Negro Spiritual in its authentic form; that the melodies and rhythms of the spiritual and Negro folk song were worthy material for compositional development into art and extended forms and that the spiritual itself is essentially a choral form." Louise Toppin has received critical acclaim for her operatic, orchestral and oratorio performances both here and abroad. Along with pianist Joseph Joubert, they have undertaken this unique project to present a CD that focuses entirely on Hall Johnson's solo vocal works. In presenting arrangements both familiar and lesser-known, this collection celebrates the historical importance, innovation and contribution of Johnson as a preserver of the spiritual while acknowledging his influence on subsequent generations of arrangers.

Here are three comedies, featuring divas of a "certain age" and the devoted, exasperated, long-suffering people who adore them. Thomas Pasatieri, one of America's most revered opera and song composers, entered Juilliard at 16 and eventually became the school's first recipient of a doctoral degree. Among his 19 operas are Black Widow (1972), The Trial of Mary Lincoln (1972), Washington Square (1976) and The Seagull (1972, available on TROY579/80). Producer John Ostendorf writes, "Tom Pasatieri's work was all the rage in the 1970's when we were both young musicians newly-arrived in New York. I knew of the glamorous Ashley Putnam at the time, but best remember the incandescent singing of Sheri Greenawald...Both sopranos both still look and sound terrific and must be applauded at undertaking and recording new roles when each is more-or-less "retired" from the diva business...As for the notion on this CD, "Divas of a Certain Age," they are easily identifiable in the first two works. But they can also be spotted in Signor Deluso: the interesting character Rosine, a blowsy maid who states her claim early in the "I need a man" song, and the compelling Mae West type, Clara, who is more attracted to the young tenor than to the old Mr. Deluso, but still concludes that all men are 'cads.' Anyway, the results are wonderful. It was a joy- and a hoot -to be in on it all."

The DePaul University Wind Ensemble has distinguished itself over the years not only with its marvelous virtuosity but with its highly original and exciting programming which can also be heard on Albany releases TROY334, 435, 501, 568 and 628. Here they are joined by John Hagstrom, who leads the trumpet studio at DePaul University. He has been a member of the Chicago Symphony's trumpet section since 1996. He studied at the Eastman School and spent six years in "The President's Own" United States Marine Band in Washington, D.C. All of these pieces have a wonderful way of showing off the terrific musical combination of trumpet and wind orchestra, with such highlights as the propulsive Concerto by Russian composer Andrei Petrov, the Scherzo by the famed Mexican artist Rafael Mendez, the lovely Rachmaninov arrangement, and the novelties found in the Ropartz and Arutiunian works. By now everyone has heard the latter composer's Concerto for Trumpet and Orchestra, so it's a pleasure to hear this more recent work. This CD is for anyone who appreciates great trumpet playing and loves the sound of a virtuoso wind orchestra.

Commissioned by the College Band Director’s National Association, Bandanna received its world premiere staged production in March, 1999 by the University of Texas Opera Theater, Michael Haithcock, conductor. The European concert premiere was presented in Warrington, England by the North Cheshire Concert Band and Manchester Chamber Choir, Mark Heron, conductor in April 2006.

Michael Horvit is Professor of Composition and Theory at the University of Houston Moores School of Music. For 25 years he served as music director at Congregation Emanu El in Houston. During his studies at Yale University, Tanglewood, Harvard University and Boston University, Horvit's teachers were Aaron Copland, Lukas Foss, Walter Piston, Quincy Porter and Gardner Read. In other words, Horvit is one of the last links between the great American Symphonic School and today's music. Not surprisingly one can hear echoes of this illustrious past in such works as the Cullen Overture and Concerto for Brass Quintet and Orchestra (on TROY265, works for orchestra), resplendent pieces which conjure up great open vistas and exuberant optimism. This exceptional disc of chamber music further reveals his traditionalist style, particularly in the String Quartet No. 2, "The Wide Missouri," whose thematic material is mostly based on one of his favorite folksongs, Shenandoah. This is truly heartfelt American music. More of Horvit's music can be heard on TROY134 and TROY533.

Mat Madness is exercise with attitude–intense yet invigorating. The Zen of Yoga and basic Pilates principles, such as stabilization and precision, inspire the workout. It’s mind/body. Physically, the routine is designed to develop symmetry in major muscle groups. Over time, increased stability and flexibility in joints lower the risk of injury in every day activities through elite athletic performance, not to mention improved posture and neuromuscular coordination. In Susan’s words: “I’ve always loved movement…After two marathons, I sought cross training that would compliment, not compete with my love for running. I discovered Pilates, Yoga, and the stability ball. It didn’t satisfy me to simply attend classes; my over-the-top passion motivated me to teach. So here I am, a full-time fitness professional…with a singular focus on helping you reach your wellness goals…” Susan is an apparatus-certified Pilates instructor, PiYo and Turbo-Kick teacher, and holds a Personal Trainer certification from the American Council on Exercise. Visit the Mat Madness website at www.matmadness.com to learn more about health and fitness-related topics.

Peter Ré studied at Juilliard and the Yale University School of Music, where he studied with Paul Hindemith, and received a Bachelor of Music degree in 1948 and at Columbia University for a Master of Arts Degree in 1950. In his 33 year career at Colby College, Professor Emeritus Ré taught courses in music theory and composition, music history and conducting. Ré has received commissions for works from the Portland and Bangor Symphony Orchestras and the Portland String Quartet (the String Quartet No. 3). He has received awards from the Maine State Commission on the Arts and Humanities for his work as Conductor and Music Director of the Bangor Symphony Orchestra. His twelve-year tenure in that position brought about major changes in the constituency, size and performing ability of the orchestra, which transformed it into a major cultural resource for Maine and which attracted guest artists of international reputation. The works on this recording have been performed by, among others, the Juilliard, Hungarian, Bay Chamber, Vaghy and Portland Quartets. The founding members of the Portland String Quartet have been together since 1969 and have performed in all the major venues of the world. They have received particular attention for their complete cycles of the chamber music of Bloch, Chadwick and Piston.

Born in Bad Gastein, Austria, Gernot Wolfgang is a graduate of USC's "Scoring for Motion Pictures and TV," and also holds degrees from the Berklee College of Music in Boston and the Austria University of Music in Graz. He has received commissions from individuals and organizations such as the Los Angeles Chamber Orchestra, the Verdehr Trio, bassoonist David Breidenthal, flutist Susan Greenberg and the Jazz Bigband Graz. As a guitarist with the Austrian ensemble "The QuARTet," he has recorded two critically-acclaimed CDs. He currently resides in Los Angeles. He writes, "As a former jazz guitarist, rhythms are a top priority for me. Specifically, rhythms (grooves) that can be found in 20th century music styles such as jazz, rock, pop, world music, etc. I have made it my mission to find ways of organically incorporating grooves into orchestral or chamber music settings, hence the subtitle of this CD. That doesn't mean that all of the music is based on grooves all of the time, but grooves play important roles within the individual pieces. My goal is to allow them to have an equal standing among other compositional devices already established in contemporary concert music."

Nathaniel Bartlett was born in 1978 in Madison, Wisconsin, and studied at the Eastman School and the Royal Academy of Music in London as well as with renowned marimbist Leigh Howard Stevens. As an integral part of being dedicated to an instrument of our time, he is also dedicated to the music of our time - constantly seeking out composers with whom to collaborate in the creation of new repertoire for the instrument. In particular, Nathaniel Bartlett is interested in the integration of computers and other electronics into live performances, creating a high-definition, multi-dimensional sound environment. As he writes of this CD, "One of my main goals was to create a well-balanced album and not simply a collection of unrelated material. The content of this album, as well as its order, was carefully chosen to form a program with a prelude, interlude and postlude, with two featured works in between. With this in mind, it is my hope that this album can be listened to in its entirety, and that the artistic impact of the album as a whole will be much greater than the sum of the works."

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.

Jamaican-born Canadian pianist Maria Corley gave her first public performance at age eight. Since then, she has appeared on radio, television and concert stages in Canada, the United States, Central America, the Caribbean, Bermuda and Europe. She completed her education at the University of Alberta in Edmonton, where she studied with Alexandra Munn. Maria Corley received both Masters and Doctorate degrees in piano from the Juilliard School, where she was a student of Gyorgy Sandor. Aside from being an accomplished pianist, Corley is an author, whose first novel, Choices, was published in Kensington's Arabesque line. She is also a composer and arranger of music for both solo voice and chorus. Formerly an assistant professor at Florida A&M University, she currently serves as staff accompanist at Millersville University in Lancaster, Pennsylvania. Of this CD she writes, "Ethnicity and gender are not determining factors of ability, and if not for the potent combination of sexism and racism, perhaps more of the music on this recording might be better known. Included are two award-winning works: Kinney's Mother's Sacrifice and Price's Sonata in e-minor. The other composers, Valerie Capers, Dorothy Rudd Moore, Undine Smith Moore and Zenobia Powell Perry, have all achieved long and successful careers in their chosen field of endeavor. In short, these are first and foremost fine pieces of music, regardless of the race and gender of their creators."

The art-music composer of today faces many challenges. On the one hand, one is tempted to create music that embraces a diversity of styles. On the other hand, one hopes to develop a personal language that would reflect one's artistic orientation and at the same time communicate effectively with the audience. This issue is of particular relevance to composers who grew up in non-Western cultures. Their music, to some extent, manifests their struggle to mediate between Western music and music of their own culture. Shih-Hui Chen is one example. Having grown up in Taiwan and having her basic musical training there, her works have been influenced by traditional Chinese as well as Western concert music. Over the years Chen has become adept in the compositional language of Western music. She earned a doctoral degree from Boston University while continuing her education in the United States. A prolific composer, she has written for a wide range of genres, including solo, chamber, orchestral and film music. The five works featured on this CD cover a broad span of time (1999-2003), and reflect a developing aesthetic. This music summarizes Chen's development and comes out of a desire to create works that assimilate her Chinese heritage and her training in Western art music. Like the interaction between yin and yang, these two opposing yet complementary forces continue to shape Chen's aesthetic and her music, resulting in music that explores the representation of "Chineseness" within predominantly Western compositional frameworks.

Here is another remarkable release in our ongoing survey of the music of David Maslanka, a composer best-known for his output for wind ensemble, including his 2nd, 3rd, 4th, 5th and 7th Symphonies and major concertante works, most of which can be found on the Albany label. This recording presents a less-familiar side of the composer: music for symphony orchestra. Of these works, Maslanka has written, "My first diary entries on 11:11 are from 1998. It was then that I began noticing the time 11:11 on digital clocks. For no apparent reason, and far more often than might be coincidence, my eye would be drawn to a clock and it would read 11:11. At first I thought it was amusing, and then it became a bit spooky, as if something were trying to get my attention. I began to meditate on 11:11 and received images of impending crisis, and even disaster. Then I decided to write a piece out of those feelings. Surprisingly when the music did finally come out it was not in crisis mode. It is for the most part filled with a bright and hopeful spirit, a "new dance at the edge of the world"...I now believe that the earth is a living thing, and that humans are one part of its consciousness. I have been aware of a powerful "voice of the earth" for many years, and especially in my adopted western Montana...One of my life axioms is that there is no progress without crisis, and there is crisis to go through before we come to a right relationship with the planet. The new Symphony is the expression of hope for that right relationship."

This compilation represents a cross section of American piano music written around the turn of the new millennium. The title American Virtuoso refers as much to the music as to its performer and describes how these composers have idiomatically responded to the challenge of writing for the piano. Yet the range of styles here is as wide as the generation gaps between the composers. All of the works, except for the first two Thomas Etudes, were written for and premiered by James Giles. All receive their world premiere recordings here, except for the Wild arrangement, which Wild himself has recorded in the past. Mr. Giles has earned a reputation as one of the most versatile pianists of his generation, acclaimed for the dynamic brilliance and communicative power of his playing. Giles performs regularly throughout the United States as recitalist and concerto soloist. His international tours have taken him to the Chopin Academy in Warsaw, Wigmore Hall in London, Salle Cortot in Paris, Sibelius Academy in Helsinki and several cities in China. A native of North Carolina, Giles studied with Byron Janis at the Manhattan School of Music, Jerome Lowenthal at the Juilliard School, Nelita True at the Eastman School and Robert Shannon at Oberlin College.

Today George Enescu's name means one thing to most listeners: The Romanian Rhapsodies, those stalwarts of symphonic "pops" albums since the days of 78's. But Enescu was much more: in addition to a large chamber and orchestral output that included three large Symphonies, he was considered one of the foremost violinists of the 20th century and a conductor important enough to be considered as Toscanini's successor at the New York Philharmonic. Important Romanian musicians such as Clara Haskil and Dinu Lipatti benefited from his encouragement. As evidence of his skills, we present this new performance of Enescu's Oedipe. Influenced by a 1909 performance of Sophocles' Oedipus Tyrannos, he worked on the opera sporadically from 1910 until the final orchestration of 1931. Edmond Fleg's libretto concentrates Sophocles' Oedipus the King and Oedipus at Colonos in the last two acts of the opera and precedes them with two more acts. Enescu considered himself a Wagnerian who also admired the music of Brahms. Along with a prevailing chromaticism one can also find here similarities with the music of his French teachers and colleagues. Oedipe was premiered in March 1936 at the Grand Opera in Paris to the great acclaim of most critics. Here is a remarkable opera that will shed a fascinating light on a composer too few people really know in depth.

Stan Link lives in Nashville, Tennessee with his wife, Melanie Lowe, their daughter, Wednesday Link, and a dog named Dingo. Stan attended the Oberlin Conservatory and studied composition with Ed Miller and Richard Hoffmann. He later became a student of Roman Haubenstock-Ramati at the Vienna Hochschule fur Musik and went on to study composition at Princeton with Paul Lansky, Steven Mackey, Peter Westergaard and Claudio Spies. He taught composition at La Trobe University in Melbourne Australia and at the University of Illinois. He is currently teaching at Vanderbilt University's Blair School of Music. With published essays and papers on noise, silence and film, Stan is also active as a writer about music. As a creator of a wide range of acoustic and computer music ranging from solo chamber pieces to a ballet for orchestra, electric guitar and African drums, his pieces have been heard on concerts, broadcasts, webcasts and new music festivals across the United States, in Europe, and Australia. His RH-, for violin and computer-generated accompaniment appears on Albany TROY728, Violin Visions.

Joel Hoffman was born in Canada and received degrees from the University of Wales and the Juilliard School. Among his distinguished teachers were Elliott Carter, Milton Babbitt, Alun Hoddinott and Easley Blackwood. Currently, Hoffman is Professor of Composition at the University of Cincinnati's College-Conservatory of Music. His music has been commissioned and performed by the Cincinnati Symphony, the National Chamber Orchestra, the American Harp Society and the Atheneum Quartet of the Berlin Philharmonic. His compositions draw from such diverse stylistic sources as Eastern European folk music and bebop jazz. There are two qualities that are common to all of his works: a focus on melody and a pervasive rhythmic vitality. The three Piano Trios represent, in his words, "...a kind of central musical point for me, in that the medium incorporates three instruments with which I have the greatest and most intimate connection possible: my mother was a superb violinist, the cello is the instrument of my cellist-brother Gary and the piano is my instrument. So composing for this medium, for me, is about as natural an activity as composing gets. I find that my essential musical questions about sound, structure, harmony, melody and meaning in general are the ones I continually address when writing for the piano trio."

Lori Laitman is an award-winning composer whose art songs are performed widely in the United States and abroad. The Journal of Singing calls Laitman “one of the finest art song composers on the scene today… who deservedly stands shoulder to shoulder with Ned Rorem for her uncommon sensitivity to text, her loving attention to the human voice and its capabilities, and her extraordinary palette of musical colors and gestures.” A graduate magna cum laude from Yale, she studied under Jonathan Kramer and Frank Lewin, and concentrated initially on flute performance and theatre and film scores. Her music has been performed all over the United States, particularly at Merkin Hall and Alice Tully Hall in New York, and at the Kennedy Center and the Library of Congress in Washington. Albany has previously issued two highly-acclaimed CDs of her songs, Mystery (TROY393) and Dreaming (TROY570). Of this new release, she says, “The songs on my third CD are compositions in partnership with contemporary poets from the U.S., Ireland, Great Britain and Sri Lanka. It has been a joy for me to set such wonderful and diverse texts. I am grateful not only to “my” poets, but also to the incredible artists who have brought my songs to life so beautifully.”

Frank Lewin was born in Breslau, Germany in 1925. After settling in the United States his composition teachers included, among others, Roy Harris, Richard Donovan and Paul Hindemith. Over the years Lewin has composed incidental music for plays ranging from Shakespeare to Tennessee Williams, and surround-sound scores for historical outdoor dramas in various parts of the country. He has also written a number of concert and ceremonial pieces, several of them for solo voice and instruments, as well as a number of choral works and two operas. A particularly fertile area for Frank Lewin has been composing for films, both dramatic (fictional stories requiring either "source" music [such as a radio playing in the background] or dramatic musical cues to signify changes in mood or to underline emotions), and documentary (films about real people, situations or scientific advances). Many of the films were independently made, many commissioned by such companies as Western Electric and Alcoa, and a couple were commercial releases (The Angel Levine was a 1970 release featuring Zero Mostel and Harry Belafonte; The Plot Against Harry was directed by Michael Roemer, director of the classic 1964 drama Nothing But a Man). It's possible that you may have seen some of the documentaries in a classroom as a child! In all this is a comprehensive document of one of the most important composers in this field. Other works of Lewin on Albany are the opera Burning Bright (TROY469/71), Three Song Cycles (TROY528) and Sacred Music (TROY769).

The versatile and enterprising Paul Freeman, Julia Bentley, Mary Jane Johnson and Louise Toppin here introduce four works for soprano voice and orchestra, pieces which are thoroughly modern yet continue the grand tradition of the concert aria. Robert Lombardo received his master’s degree in composition from the Hartt School of Music. Aria Variata was commissioned by the Chicago String Ensemble and its director, Alan Heatherington. A native of Texas, James Gardner studied under Anshel Brusilow and Peter Herman Adler. Scene for a Diva expressly pays homage to the kind of concert aria composed by Mozart, written as if it were an actual opera aria, complete with dramatic recitativo and cantabile sections. David Baker is Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music. Witness was commissioned by Philip Brunelle for the Plymouth Music Series of Minnesota’s 1990-1991 season. They represent the composer’s reverent treatment of heartfelt and timeless spiritual texts. Another distinguished African-American composer, Hale Smith grew up performing both classical and jazz music. He chose these particular Four Negro Spirituals because he was deeply moved by the zeal of the songs. As an outstanding composer and arranger he has captured the essence of these songs with his brilliant orchestration.

Born in New York, David Chaitkin followed his early experience as a jazz musician with studies at Pomona College and the University of California, Berkeley, where he received its Prix de Paris. His teachers included Luigi Dallapiccola, Seymour Shifrin, Max Deutsch, Andrew Imbrie and Karl Kohn. He has taught at Reed College, New York University and Brooklyn College. Noted for his lyrical and harmonically adventurous music, Chaitkin has composed symphonic as well as a variety of chamber and vocal works. His music has been performed by the BBC Philharmonic, the Tanglewood Music Center Orchestra, the DaCapo Chamber Players and St. Luke's Chamber Ensemble. Recent commissions include a Concerto for Soprano Saxophone and Orchestra, Trio for Violin, Cello and Piano, and a new work for the U.S. Marine Band. As he writes about this release, "The works on this disc share a harmonic language, one which can refresh a long line, allow for the possibility of setting a melody in a number of different contexts, and to extend the possibilities for progression and contrast, balance and rhyme. All of the music reflects my natural desire for clarity of line, harmonic recognition and a sense of phrase."

John Van der Slice received his A.B.degree from the University of California at Berkeley, an M.A. degree in Ethnomusicology and a M.M. in Composition from the University of Hawaii at Manoa, and a D.M.A. degree in composition from the University of Illinois at Urbana. He studied composition with Armand Russell, Neil McKay and Paul Zonn. He is a specialist in the music of the 20th and 21st centuries and his own compositions include more than forty works for solo instruments, chamber ensembles, and orchestra (Specters, on TROY590). He was Professor of Music Theory at the University of Miami Frost School of Music, from which he retired in 2005. Solos and Duos presents an excellent cross-section of his chamber pieces. In Solo for Piano, for example, individual pitch intervals function as subjects of a musical drama which unfolds within contrasting sections. Solo for Tuba may be thought to "suggest a lifeform struggling to assert itself in what threatens to be a losing battle." The title Embers (written for the Malletkat, an electronic, programmable MIDI controller mallet percussion instrument) suggests "remnants of thought...glowing, briefly flaring, dying...until a final reawakening."

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.

The versatile Duehlmeier-Gritton Duo has met with accolades throughout the United States, Europe, Asia and the Middle East as they have performed works from Bach to Stravinsky. Most recent engagements have taken them to Asia for performances in Nanjing, China; Austria for a recital at Bosendorfer Hall in Vienna; Poland for a performance at the Autumn Warsaw Festival, and many other locations. They have also performed on the Dame Myra Hess series in both Chicago and Los Angeles where their recitals were broadcast on Public Radio. Orchestral performances include numerous collaborations with the Utah Symphony, the Warsaw Philharmonic, the Czech Radio Symphony and the Armenian Philharmonic Orchestra. Their recording of the Henry Wolking Concerto for Two Pianos, 'Letting Midnight Out on Bail,' was nominated for a Grammy in 2002. In fact, the Wolking Midnight Jazz Suite on this new CD is extracted from that Concerto. Susan Duehlmeier studied with Leonard Shure at Boston University and Bonnie Gritton studied with Aube Tzerko at the University of California at Los Angeles, and they met at the University of Utah as faculty members. With shared musical training in the Schnabel tradition and similar tastes in repertoire, their musical partnership was launched.

A student of H. Owen Reed, Vittorio Giannini and David Diamond, Adolphus Hailstork has written numerous works for chorus, solo voice, various chamber ensembles, band and orchestra (his Symphony No. 1 can be heard on Albany TROY104 and works for chorus can be heard on TROY156). Significant performances by major orchestras (Philadelphia, Chicago and New York) have been conducted by leading names such as James dePriest, Lorin Maazel, Daniel Barenboim and Kurt Masur. Dr. Hailstork resides in Virginia Beach, Virginia and is Eminent Scholar and Professor of Music at Old Dominion University in Norfolk, Virginia. He also has a connection to our area in upstate New York; he writes, "I began taking organ lessons in the 1950s as a member of the boy's and men's choir of the Episcopal Cathedral of All Saints in Albany, New York. During my last two years in high school I served as the organist/choir director during the summer. Several decades later I returned to the instrument as organist/choir director at the Unitarian Church of Norfolk, Virginia. In the 1990s I also resumed organ lessons with Dr. James Kosnik (the soloist on this CD), a colleague of mine on the faculty of Old Dominion University. I have written several works for my own service use at the Unitarian Church and for concert use for advanced performers such as Dr. Kosnik."

Just intonation: A tuning system having intervals that are acoustically pure; all intervals are represented by ratios of whole numbers. Lydia Ayers composes with unlimited just intonation in Csound and with 75-tone Indian/Partch scale on the "Woodstock Gamelan," a tubular percussion instrument built to her specifications by Woodstock Percussion. She has modeled the Woodstock Gamelan and other gamelan instruments using Csound, and authored Cooking with Csound: Woodwind and Brass Recipes, a CD-ROM package which gives wavetable synthesis design for wind instruments. The music on this CD is inspired by the works of Harry Partch and Lou Harrison, the antics of the family cats, and experiences in Indonesia, such as awareness of the proximity of Merapi, Java's most active volcano, and listening to gamelan and kecak performances in Bali. Lydia Ayers has visited Java and Bali several times, where she met with such artists as I Wayan Dibia and Made Wiratini and made sample recordings of the STSI gamelan with their assistance. She has played gamelan at the Chinese University of Hong Kong and at Hong Kong University, and extensively researched microtonal tuning systems. She has worked with extended vocal and woodwind techniques, including quarter tones, multiphonics and other unusual flute timbres. She has used algorithims to solve tuning and compositional problems, and is creating Indonesian, Native American, Australian and Chinese computer instrument designs.

Growing up in Buenos Aires, Pablo Ortiz took piano lessons from his mother and learned Gregorian Chant at the Universidad Catolica Argentina, where he also studied composition with Gerardo Gandini. At the age of 27 he came to the United States where he studied under Mario Davidovsky. After moving to the San Francisco Bay Area in 1994 he developed a particular fascination with Mexican culture, eventually employing texts by the famous Chicano poet and Mission artist, Francisco Alarcon for a collection of children's songs and the title work on this disc, Oscuro. Ortiz's output, comprising chamber music, vocal, orchestral and electronic works, has received international recognition and performances by the Arditti Quartet, Speculum Musicae, Les Percussions de Strasbourg and Continuum. During the early 1990s, Ortiz embarked on a series of works that find a connection between tango and memory. Although this exploration represents only one of many strands within his varied oeuvre - one that is well represented on this CD - Ortiz's association with the tango is apt, for he shares its Argentinean roots, its thoroughly cosmopolitan history, and its ability to mirror social interactions with controlled, dramatic flair.