Catalog

The Scott/Garrison Duo consists of clarinetist Shannon Scott and flutist Leonard Garrison, has performed together since 1988, with a long commitment to American music. They have been featured at five conventions of the National Flute Association and were winners of the NFA’s Chamber Music Competition. This recording features nine delightful works for this wind duo, exploring works by American, French and Swiss composers.

Cellist Jonathan Golove offers a program of contemporary Mexican works for cello, five of which are world premiere recordings. All of these composers are major figures in Mexican music and this recording showcases the exciting and vibrant work that is being done in Mexico. Golove is a dedicated performer of both new and traditional works as well as of improvised music. A native of Los Angeles, he now serves as associate professor in the University of Buffalo's Department of Music.

The lure of the operetta stage proved as irresistible to America's "March King," John Philip Sousa, as it had a decade earlier to Vienna's "Waltz King," Johann Strauss. Sousa played under the baton of Jacques Offenbach as a teenaged violinist and was aware of the unprecedented success of Gilbert and Sullivan's H.M.S. Pinafore on Broadway. El Capitan can lay claim to be the most enduring American comic opera of the 19th century. It was premiered in Boston in 1896, transferred to Broadway a week later and for the next four years played continuously across the U.S. and Canada and even had a five month run in London. This recording, with complete music and dialogue, was recorded at the 2010 Ohio Light Opera Festival.

This recording allowed composer Dalit Hadass Warshaw to feature and reconcile diverse aspects of her musical identity -- composer, pianist, and thereminist. The music runs across a broad harmonic spectrum with music ranging from solo instrumental works to string quartet to voice. It also highlights Warshaw's mission to integrate the theremin with acoustic ensembles as her music for this instrument features the more lyrical, vocal and expressive capacities of this unusual instrument. The theremin used for this recording belonged to Clara Rockmore and was customized for her by its inventor, Lev Theremin, in the early 1930s. A prolific composer and active performer, Ms Warshaw's music has been widely praised for its lyricism, its unique orchestral palette, its sense of drama and emotional intensity.

William Matthews began studying and performing music as a flutist in Springfield, Ohio, then studied composition formally at Oberlin, the University of Iowa, the Institute of Sonology and the Yale School of Music. He has taught at Bates College since 1978. His creative time is divided between acoustic and electro-acoustic compositions and both types are represented on this first recording devoted to his music.

John Duffy, considered "one of the great heroes of America music," has composed more than 300 works for symphony orchestra, opera, theater, television and film. He is a two-time Emmy winner and the recipient of the American Music Center's Founder's award for Lifetime Achievement. Critics call his work "...haunting...memorable...and brilliant." It is American music of authentic vim and vigor.

Gilbert & Sullivan's hilarious and tuneful 1881 spoof of Oscar Wilde and the Pre-Raphaelite movement is presented with complete music and dialog by the Ohio Light Opera. Patience was the sixth of the 14 Gilbert & Sullivan collaborations. It played for 850 performances, moving to the Savoy Theatre, where it was hailed as the first theatrical production to be lit entirely by electric light.

The music of John Allemeier has been described as having a "sweet sense of mystery." His music has been performed throughout the United States and Europe in chamber concerts and at international festivals. A graduate of the University of Iowa, Northwestern University and Augustana College, he also studied at the Internationalen Ferienkurse für Neue Musik in Darmstadt. He teaches composition and music theory at the University of North Carolina at Charlotte. This CD presents four premiere recordings of his music for various chamber ensembles. Each of these pieces resulted from commissions and collaborations with education and and artistic organizations between 2007 and 2010.

Countertenor Darryl Taylor and pianist Brent McMunn have assembled a superb selection of classics from the still growing corpus of spirituals, including a number of arrangements by key figures in the history of black musical composition. With this project, Taylor and McMunn contribute powerfully to the continuous translation of this aged music from oral tradition to written composition Ñ from folksong to art song. Darryl Taylor has sung in concert halls across the United States and Europe. A native of Detroit, Taylor holds degrees from the University of Southern California and the University of Michigan. He is on the faculty at the University of California, Irvine.

The recording of James Willey's String Quartets Nos. 3, 7 and 8, marks the culmination of a decades-long partnership between the composer and the Esterhazy Quartet, which began in 1977 with the Quartets performance of his String Quartet No. 1. Since then the Esterhazy Quartet has performed and recorded all eight of the composer's works in this genre. Aided by this long, closely-knit collaboration in which ideas, revisions and artistic inspiration would flow back and forth between composers and performers, James Willey has created one of the most beautiful and personally expressive canons of string quartets in the latter part of the 20th century.

In the grand American tradition initiated by Ives, this collection of piano music by Ethan Wickman balances refreshing individuality with an acute awareness of tradition. Aptly titled, Portals and Passages offers myriad glimpses of correspondent time periods, distant relationships, complementary cultural values, and diverse locales -- earthbound and otherwise. Wickman's compositional style weaves a dynamic network of motivic, rhythmic, and textural contrasts into a unified voice that continually prospects fresh realms of tonal possibility and interest. In Nicholas Phillips, his music finds a measured, solicitous interpreter whose touch renders the most challenging technical passages effortless and those more delicate, sublime.

David S. Lefkowitz, a native of New York City, studied composition at Eastman, Cornell and the University of Pennsylvania. He has won international acclaim as a composer, with his works garnering performances around the world as well as numerous prizes and including recognition from the National Association of Composers, the Chicago Civic Orchestra and the Gaudeamus Music Week. As a theorist Lefkowitz has researched "meta-theoretical" issues such as the process of segmentation and the internal structure of set-classes. Lefkowitz has enjoyed creating music with different, often contradictory faces. The works on this disc in which tonality and atonality, consonance and dissonance exist in tension are not found at one particular point along the continuum from one stylistic extreme to another. Rather these pieces thrive on the tension between the contradictory characteristics.

As on the previous release of Gernot Wolfgang's music on Albany Records, rhythms (grooves) from musical styles such as jazz, rock & roll, pop, world music and electronica play important roles within his chamber music compositions. While they rarely stretch through an entire piece, they provide energy and forward motion in between the free flowing rubato passages. Active in the Los Angeles film and TV music industry, Wolfgang has served as composer-in-residence with the Beverly Hills International Music Festival where he curated a concert series featuring the chamber music of film/TV composers.

This recording brings together a selection of Ingrid Arauco's music written in the last decade and suggests a certain continuity of thought, with the entire program intended to be comprehended as a single artistic statement. A member of the music faculty at Haverford College, Ingrid Arauco studied at the University of Pennsylvania. Her works have been performed by many distinguished musical organizations, including the Colorado Quartet and the Network for New Music. She is the recipient of numerous honors, including awards from the American Guild of Organists and has received commissions from the Philadelphia Chamber Music Society and the Kindler Foundation in the Library of Congress.

This recording is a symbol of cross-ocean friendship between composer Faye-Ellen Silverman and guitarist Volkmar Zimmermann and includes two pieces commissioned by Zimmermann and his Corona Guitar Kvartet. All the works feature guitar and range from works for solo guitar, guitar quartet and works for voice with guitar. Faye-Ellen Silverman studied at Barnard College, Harvard University and Columbia. She has received numerous commissions and awards and recordings of her music appear on the Albany, Capstone, Crystal and New World record labels. Her collaborator, German-born guitarist Volkmar Zimmerman studied at the Royal Danish Academy of Music. He has performed in Europe, Russia, the United States and in Canada as a soloist and as a member of the Corona Guitar Kvartet. A bonus video, playable on QuickTime is included. Titled SPOR, it is a film by Nike Arnold and Clara Bausch and uses the first track from the recording, Processional, as music.

MAD DANCES? Mad indeed! This collection of American music for saxophone and piano is a representation of the wonderfully "mad" and spectacular contemporary saxophone repertoire. There is a uniquely mad-like quality to all of these works: this madness is presented in many different ways, using the definition of "mad" quite loosely. Libby Larsen's Holy Roller is full of madness, invoking the intensity of revival meetings and sermons of "holy roller" type preachers. Skookum Suite, by Kevin Isaacs is inspired by the Sasquatch, or "Skookum," who becomes "mad, sad and glad" as he is discovered by humans, escapes, and finds true love. William Albright actually provided us with our album title in the second and fourth movements of his brilliant Sonata for Alto Saxophone and Piano, while David Diamond's sonata allows us a brief respite from madness with his eloquently composed and truly American work. The collection ends with an arrangement of David Del Tredici's Acrostic Song from Final Alice...well, what could be madder than the Mad Hatter? All this given brilliant performances by the esteemed saxophone player, Dan Goble, and pianist Russell Hirshfield.

The SUNY Fredonia Wind Ensemble conducted by Paul Holcomb, presents its first recording that includes music commissioned for the Ensemble and superb soloists. The renowned bass trombone player, Randall Hawes, is featured on Hungarian composer Hidas Frigyes' Rhapsody and Alex Jokipii, principal trumpet of the Buffalo Philharmonic is the soloist for Jerzy Sapievevski's Concerto. There is also a Concerto for Percussion by Japanese composer Toshiro Mayuzumi with soloists from the Wind Ensemble. Mark Engebretson's Symphony for Winds is a commissioned work and this as well as Karl Boelter's Mountains and Mesas receive their world premiere recordings.

The fact that a composer of Persichetti's stature and prominence wrote so many works for wind band was not a result of a unique devotion, but simply because he was inherently attracted to the medium. The works on this recording, which constitute Persichetti's major works for wind ensemble, represent a wide variety of lengths, forms and difficulty levels and yet certain compositional consistencies can be found throughout. The differences are in technical demands and harmonic density rather than the basic musical language. The Illinois State University Wind Symphony and their conductor Stephen K. Steele offer exceptional performances of this music.

It was Biljana Milovanovic, pianist for the Ibis Camerata ensemble, who conceived this project of recording a group of compositions by Yehudi Wyner. Mr. Wyner performed in one piece (with Richard Stoltzman) and conducted another, but his major contribution was in coaching performers in matters of his style. The music spans 50 years of Wyner's compositional output beginning with the Partita for Piano of 1952 and arriving at Commedia for Clarinet and Piano of 2002. Awarded the Pulitzer Prize in 2006, Yehudi Wyner is one of America's most versatile musicians. His compositions include more than 60 works and he has received many commissions and honors in addition to the Pulitzer. He has taught at Yale, SUNY Purchase, Cornell, Harvard and Brandeis. This is the fourth recording by the Ibis Camerata to appear on Albany Records.

Composer Charles Bestor received his musical training under Paul Hindemith, Vincent Persichetti, Peter Mennin and Vladiir Ussachevsky. His long career has included numerous awards and commissions and recordings of his music appear on Albany Records, Capstone, Centaur, New Ariel, Serenus, Orion and MSR Classics. He has pursued a parallel career as a teacher and administrator and served on the faculty and administration of the Juilliard School, Wilamette University and the Universities of Massachusetts, Utah and Alabama. He is presently Professor of Composition Emeritus and Director of the Electronic and Computer Music Studios of the University of Massachusetts/Amherst. This recording is the first devoted to his orchestral works. Two works on the recording (Requiem and The Long Goodbye) are the composer's attempt to generalize a private personal loss.

What unites this fascinating disc of song cycles is the poetry of Constantin Cavafy (1863-1933), a beloved Greek poet. The four composers have offered their personal musical response to his art. Baritone John Muriello has maintained a varied performing career in opera, operetta, musical theatre and concert work. He has concertized in London, Moscow and throughout the U.S. and has performed at international contemporary music festivals. A voice teacher at the University of Iowa, he is joined by his colleague, composer/pianist David Gompper.

Violist George Taylor and guitarist Nicholas Goluses, both faculty members at the Eastman School of Music, offer a lovely program of music for viola and guitar. The recording leads us through the various phases and moods of night from the first shadow to darkness to the sounds of night. The performers capture all the moods and colors, the timbre and sonority of the viola and guitar blending and interweaving beautifully. Their interpretations of these works are characterized by elegance, grace, warmth and humor.

Two works for soprano and orchestra by American composers comprise this recording. Frank Ticheli composed An American Dream as his fifth and final work for the Pacific Symphony Orchestra during his seven-year tenure as the orchestra's Composer-in-Residence. Based on a text by Philip Littell, the work addresses the conscious and unconscious sea of anxiety during the winding down of 20th-century America. Lansing McLoskey has chosen to excerpt lines for his text for Prex Penitentialis from two works by Petrarch: the Canzoniere, a collection of love poems, and Septem Psalmi Penitentialis, in which the civil war between body and soul is made explicitly and profoundly clear.

For his fourth recording on Albany Records, "maximalist" composer Florencio Asenjo gives us three orchestral works based on literature. The Batrachomyomachia or The Battle of the Frogs and the Mice is an anonymous ancient Greek parody of the Iliad. Palm-of-the-Hand Tales is incidental music to ten of Yasunari Kawabata's narratives from his Palm-of-the-Hand Stories. Basile's Pentameron frames incidental musical episodes from Giambattista Baile's Penteramron, which was the source of famous stories by Perrault and the Grimm brothers.

For their first commercial recording, the Alabama Wind Ensemble offers three concertos by American composers. James Beckel's The Glass Bead Game is a horn concerto loosely based on the Hermann Hesse novel of the same name. Scott McAllister's Black Dog is a rhapsody for solo clarinet and wind ensemble, inspired by Led Zeppelin's rhapsodic-style song Black Dog. David Maslanka's Trombone Concerto is a memorial to Christine Capote, a flutist and teacher who was a dear friend. The performers and conductor Kenneth Ozzello are all faculty members at the University of Alabama.

Since 2006: The Saxophone Music of Allan Blank, is comprised of recordings of music dating from 2006-2009 by noted composer Allan Blank. These works, in combination with five pieces written for saxophone prior to 2006, qualify Blank as one of the most prolific major American composers for the saxophone. Saxophonist Bill Perconti is a Professor of Music at Lewis-Clark State College. He has been an ardent champion of American composers, and his numerous recordings contain world-premieres. Most of the compositions included on this recording were as a result of correspondence between the composer and Perconti.

The two works on this recording are concerned with time-cycles: Book of Hours with the ordering of days, Helian with the changing of seasons. Book of Hours uses the medieval Book of Hours, a devotional book containing prayers and psalms, for its structure while Helian is a setting of a poem by Georg Trakl and is concerned with years, not days. Active as a composer, conductor and pianist, Jeremy Gill studied at the Eastman School of Music and at the University of Pennsylvania. He has received awards from BMI, ASCAP, Meet the Composer and the American Symphony Orchestra League. He is Music Director of the Delaware County Symphony. This is the second release on Albany Records devoted to his music.

The music of composer David Dies (b. 1972) has been performed in venues around the world, including London, Lima, New York City, Chicago, Lenox, Massachusetts, Ithaca, New York, and Madison, Wisconsin, where he has been both student and teacher. Notable performances include sopranos Mimmi Fulmer and Judith Kellock, cellist Jakub Omsky, pianist Christopher Taylor and bassoonist Marc Vallon, among others, who are featured on this recording. He currently teaches music theory and composition at Lawrence University in Appleton, Wisconsin. Dies comments that, "I titled the CD, agevolmente, because the complicated path I took to find the "simple" term reminds me of a central irony in my music. Generally, I want my music to sound comfortable, natural, elegant, and easy, but it takes a high level of skill, musicianship, and concentration to perform. I want the music to sound unlabored and simple when, for the performer, it can be exacting and complex."

George Edwards graduated from Oberlin and then did graduate study at Princeton, where he studied with Milton Babbitt, Earl Kim and Edward T. Cone. He taught at the New England Conservatory and then moved to Columbia University in 1977 where he taught composition and theory until 2004 when he retired. George Edwards' longtime friend and colleague, the composer and theorist Fred Lerdahl, identifies three basic strands in Edwards' music. First, it is relentlessly contrapuntal. Second, Lerdahl notes that while the music is not truly serial, the works of twelve-tone composers have had a profound effect. Finally, the music shows a strong affinity for the lyrical intensity and harmonic richness of the late Romantic Austro-German repertoire. These three strands coalesce in important ways to form the essence of George Edwards' unique compositional voice. With the release of this recording, we are fortunate to have the opportunity to engage with a composer of the first order.

Commissioned by Dicapo Opera Theatre, Thomas Pasatieri's charge for God Bless Us, Every One! was to bring the cast of characters to the shores of America. God Bless Us, Every One! suggests what might have happened 20 years after the famous final line of Dickens' original tale. The libretto combines the characters from A Christmas Carol with the plot of another Dickens' story, Doubledick, and mixes them all into the turbulent years during the American Civil War.

Born in 1936, the eminent American composer Elliott Schwartz has had a distinguished career as a composer, professor and writer. He is the Robert K. Beckwith Professor of Music Emeritus at Bowdoin College, where he taught from 1964 to 2007. His music has been performed by major orchestras and ensembles around the world and he has held visiting appointments at Oxford University, the Royal Danish Academies, and the Rotterdam and Amsterdam Conservatories, among many others. His style is marked by a fondness for unsynchronized layers of activity, highly dramatic -- even theatrical -- gestures, and brilliant instrumental colors. Although the three works on this recording appear to be widely contrasted in certain surface ways, they also share important features. Each was conceived as the response to a personal experience and each explores a layering of textures.

Composer, concert presenter, educator and arts administrator, Theodore Wiprud has played many important roles in American musical life since the 1980s. His ongoing work with musicians, students, and communities -- currently as Director of Education at the New York Philharmonic and host of the Philharmonic's Young People's Concerts -- corresponds with music described as "rewarding to perform," "warmly received by audiences," and "destined to set a high standard." Theodore Wiprud came of age as a composer as the rigorous precepts of both serialism and classic minimalism yielded to a flowering of musical plurality. His works characteristically employ a freely tonal approach to harmony, convey specific emotional climates, and often reflect aspects of spiritual experience. This is the first commercial recording dedicated to his music.