Catalog

Pianist Thomas Stumpf is fascinated with the concept of time and how it is utilized to make sense of the human condition. We have language and symbols for time and music is one of the most powerful of those symbols. Stumpf has used this 2-CD recording to reveal composers' concepts of time as it appears in their composition. Time as a straight line — time as a circle — time as the tolling of bells — the totality of time. Music exists in the dimension of time, and is one of the deepest and most genuine expressions of the unity of time. Music offers a deeper satisfaction with its inevitability of beginning, middle, and end that unpredictable real life can't. Moments of deep satisfaction can be found in the works chosen for this recording, especially when listened to again and again. Born in Shanghai and raised in Hong Kong, Thomas Stumpf studied at the Mozarteum and the New England Conservatory. His career as a solo and collaborative pianist has spanned four continents and his discography consists of seven compact discs. He was co-founder and Artistic Director of Prism Opera and is the recipient of numerous awards. He has taught at the New England Conservatory, Boston University and UMassLowell and is currently on the faculty of Tufts University.

Written in commemoration of September 11, Reflections upon a September morn sets two poems by Walt Whitman. Performed by Kate Maroney, mezzo-soprano, Virginia Brewer, English horn and oboe, and James Adler, piano, this is a poignant tribute to our national tragedy. Available only as a digital download through our online digital store.

Members of the Divan Consort, a Los Angeles based ensemble present a program of music by composers from Turkey, China, Armenia, South America and the United States. Reflecting the ethnic and national backgrounds of the performers in the ensemble, the Divan Consort is committed to enhancing diversity in music, exposing music by composers from underdeveloped countries to audiences in the U.S. and Europe, as well as performing landmark compositions of the 20th and 21st centuries. Pianist and founder of the Divan Consort, Füreya Ünal, hails from Turkey, while clarinetist Virginia Figueiredo is Portuguese; violinist Mira Khomik from the Ukraine; cellist Maksim Velichkin from Uzbekistan; percussionist Yuri Inoo from Japan; and flutist Pamela Martchev from the United States.

A world premiere recording of Anthony Plog's Concerto 2010 is the featured work on this recording by the Texas Christian University Wind Symphony. The concerto, written for brass quintet and wind ensemble, has the esteemed American Brass Quintet as soloists. Celebrating its 50th year, the American Brass Quintet has been internationally recognized as one of the premiere chamber music ensembles of our time. The ensemble has created a legacy unparalleled in the brass field. A must-have for brass lovers, this disc is the first commercial recording by one of the outstanding collegiate wind ensembles in the U.S.

This DIGITAL ONLY recording embraces the highs and lows of Jewish life - the Holocaust (Remember), a psalm setting (Revere), and love poetry and joy (Rejoice). udith Clurman’s Essential Voices USA (EVUSA) is one of New York’s preeminent choral ensembles. EVUSA boasts a talented roster of seasoned professionals and auditioned volunteers, dynamically fitted to the unique needs of each project. They have appeared at Carnegie Hall and Lincoln Center and on NPR’S Tiny Desk Concerts. Their recordings include “America at Heart,” “Appalachian Stories,” “Celebrating the American Spirit,” “Cherished Moments,” “Cradle Hymn,” “Holiday Harmonies,” “Rejoice! Honoring the Jewish Spirit,” “May You Heal,” “Washington Women,” “Winter Harmonies,” and “Words Matter.” Conductor Judith Clurman conducts Essential Voices USA, and the Singing Tree Float in the Macy’s Thanksgiving Day Parade. Her work has received Emmy and Grammy nominations and she has collaborated with the major classical orchestras and conductors of the world. She was Director of Choral Activities at The Juilliard School for 18 years and a faculty member for the National Endowment for the Arts/Columbia University Institute in Classical Music and Opera. Judith currently teaches private and ensemble voice at the Manhattan School of Music.

Remember is a collection of Romantic American choral music devoted to loss, commemoration, and consolation. Several of the musical works were written at the conclusion of World War I or to mark the tenth anniversary of the armistice. Much of the music has remained unperformed — even unknown — since it was written. Composers include George Whitefield Chadwick, George Whiting, Charles Martin Loeffler, Marian Bauer, Edith Lang, Dudley Buck, and J.C.D. Parker. Led by David P. DeVenney, the West Chester Concert Choir performs music of all styles and epochs. They have performed nationally and internationally and has recorded seven commercial CDs. DeVenney, who studied at Iowa State, the University of Wisconsin-Madison, and the University of Cincinnati College-Conservatory of Music, is on the faculty at West Chester University. He has made substantive contributions to scholarship in American choral music through his 16 books and dozens of articles. He was the guiding editor for choral music for the new Grove Dictionary of American Music, second edition.

Rosa Antonelli evokes the memories of Latin sounds for her second recording on Albany Records. Born in Argentina, Ms. Antonelli enjoys an active and varied performance career. She has been hailed as a leading exponent of Spanish and Latin American music, which she has performed to audiences around the world in extensive tours that have taken her to Europe, Africa, Asia, Latin America and North America. Trained at the National Conservatory in Buenos Aires, she was also a participant in the International University Music Program in Santiago de Compostela where she received the Rosa Sabater Award for her interpretation of Spanish music. Her first recording on Albany Records, Esperanza-Sounds of Hope, received critical praise as did her New York debut at Stern Auditorium/Perelman Stage at Carnegie Hall, where Harris Goldsmith wrote that her " inward poetry forced me to rehear, and revalue Piazzolla's Tangos, which she infused with an eloquence and inner communication "

Enric Madriguera is connected to Andrés Segovia in many ways: he was a student of Segovia’s as a young man, and his aunt, Paquita Madriguera, was Segovia’s second wife. Enric’s program is offered as a form of homage to Segovia and the music reflects Segovia’s influence with the choice of works and their direct connection to the maestro. Especially notable is the first recording of Three Studies by Segovia, performed as a set and using a “Segovia guitar” from the collection of Russell Cleveland. On the faculty at the University of Texas at Dallas, Enric Madriguera, he also is the director of guitar ensembles for the ChamberArt Festival in Madrid, Spain. As both a performer and educator, Madriguera has traveled to and presented in five continents during the span of his career.

Rendezvous in the Salon invites you to experience a collection of performances that explore the rich and vibrant world of American art song. The recording includes world premiere performances of three cycles by Steve Danyew, Roger C. Vogel, and David Leisner as well as a cycle by Ned Rorem. Soprano Natalie Mann is an active recitalist, concert soloist, and opera singer. She received a Metropolitan Opera Encouragement Award and was the winner of the Audience Favorite Award in the David W. Scott Memorial Competition and the Hawaii Public Radio International Art Song Competition. She is a graduate of Butler University, the University of Wollongong, and Indiana University. She is joined on this recording by pianists Tali Tadmor, Catherine Miller, and bassoonist Bruce Magnum.

"Requiem Songs was begun about two years after I returned from a four month stay in the former Yugoslavia. It was originally planned to be an upbeat piece, using some of the musical ideas I had collected during my time in the Balkans, but the advent of the war in Croatia and Bosnia left me unable to complete the commission as I had originally planned it. It seemed like the culture I had known briefly was dying, and the appropriate musical response was to write a requiem for it. I briefly toyed with the idea of combining parts of the various liturgies used in the Balkans as source material for the work. However, as I focused more on the nationalistic conflicts which seemed to be springing up throughout eastern Europe and the former Soviet Union in the wake of the collapse of communism, I found myself thinking more and more that this was not about Bosnians and Serbs, but really about all people who see their own national identity as requiring the annihilation of people with another national or ethnic identity. The problem is not limited to victims of Serb or Croat aggression, but rather to the victims of nationalism throughout the world. Screen Scenes is not about anything political, but simply about how we perform music. One of my continuing musical interests over the years has been to find new ways to work with improvisation. I love the kinds of spontaneity and imagination that seem to appear when good improvisers play, and the depth with which ensembles must listen to each other in improvisational situations. On the other hand, as a composer, I also tend to have very specific ideas about how I want a piece of music to sound, how it should develop, how it should be structured, etc. So the problem is: how do I create a work in which I keep the kind of control which is important to me, while giving the musicians the kind of freedom they require for improvisational interaction. Screen Scenes is one answer." Neil Rolnick has been active internationally as a composer and performer of computer music since the late 1970s. He has appeared in concerts throughout North America, Europe and Japan. Currently he is Chair of the Arts Department and Director of iEAR Studios at Rensselaer Polytechnic Institute in Troy, New York. This is a disc of appealing, profound and topical music.

This recording features treasured musical collaborators of composer Ingrid Arauco performing works from the past decade. While varied in inspiration, the works are connected, as they stem from purely musical impulses and investigations. Arauco's music is rich in the resonances of both the past and the present. Arauco's music has been performed by noted new music ensembles and featured at various music festivals, including the Havana Contemporary Music Festival. She is the recipient of numerous commissions, honors and fellowships, including residencies at Yaddo and MacDowell. A graduate of the University of Pennsylvania, Ms. Arauco is on the faculty at Haverford College. This is her third recording for Albany Records.

Leonardo Balada, the Catalan composer who came to New York in 1956 to study composition, has been a powerful creative force for more than three decades. His highly personal avant-garde techniques in the sixties - dramatically as well as rhythmically imposing - sets his works like Guernica and Maria Sabina apart from composers of the time. Later, in the seventies, he was credited as a pioneer in blending the avant-garde with folkloric ideas mixing the new with the old- now a very fashionable trend- in works like Sinfonia en Negro-Homage to Martin Luther King (1968) and Homage to Casals and Sarasate (1975). His exposure to the plastic arts in New York was perhaps of greater significance to his style than the music he heard around him. In Balada's music one finds by his own admission a perplexing amalgamation of traditional Spanish culture influenced by modern concepts of geometric art, "collages" as seen in the paintings of Rauschenberg and the surrealism of Salvador Dali. Balada had collaborated several times in New York during the early sixties. In an interview over a generation ago Balada explained his position towards this dichotomy saying: "If I go to Andalusia and choose to wear a "Cordobes" hat, or a cowboy hat in Texas or no hat at all on Wall Street, I still will be recognized as me, provided that my personality emerges in spite of my disguise." And his works are very personal indeed, through textural writing, blunt contrasts of ideas and dynamics, juxtaposition of opposing harmonies, mechanistic passages in layers of "staccato" writing, a rhythmic constancy and above all, a compelling sense of direction and goal in the form and drama of his music.

Here is a welcome companion to the acclaimed release of Reza Vali's music for string quartet on TROY790. This time music for larger chamber ensembles is featured, with an emphasis on the Persian folk music Vali grew up with. Since 1988 he has been on the faculty of Carnegie Mellon University, and has received numerous awards and commissions from the Pittsburgh Symphony, the Boston Modern Orchestra Project, the Kronos Quartet and many other ensembles. His early works indicated his interest in the avant-garde but in recent years he has composed works featuring strong influences from the music of his native Persia. The sets of Folk Songs and particularly the Calligraphy No. 4, with its use of the santoor (a Persian hammered dulcimer), derive almost entirely from Persian folk song. This is truly unique and highly original music.

Iranian-American composer Reza Vali has a unique and very personal ethos in that his artistic output attempts to understand the dialogue between the ancients and the moderns. It addresses his conviction that what has been historically and artistically camouflaged can be revealed. Since 2000, Vali has been composing exclusively within the demanding palette of Persian polyphony. The works on this recording include a works for microtonal trumpet and orchestra; songs using Persian folksongs as their inspiration; a work originally written for Persian wind instruments and ensemble, scored for clarinet and ensemble here; and a work for Persian Ney, Kamanche, and orchestra. A member of the faculty at Carnegie Mellon, Vali studied in Iran, at the Academy of Music in Vienna, and the University of Pittsburgh. The recipient of numerous awards and commissions, his music has been performed by some of the most notable orchestras and ensembles in the United States, including the Seattle Symphony, the Boston Modern Orchestra Project, the Da Capo Chamber Players, and the Kronos Quartet, among many others. This is his fourth recording for Albany Records.

Born in Iran, composer Reza Vali studied at the Conservatory of Music in Tehran, the Academy of Music in Vienna and the University of Pittsburgh, where he received his Ph.D. He has been a faculty member of the School of Music at Carnegie Mellon University since 1988. The recipient of numerous honors and commissions, including the honor prize of the Austrian Ministry of Arts and Sciences, his music has been performed by orchestras and ensembles around the U.S., including the Pittsburgh Symphony Orchestra, Seattle Symphony, Kronos Quartet, and Da Capo Chamber Players, among many others. His music appears on the Naxos, New Albion, MMC, Ambassador, ABC Classics, and Albany Records labels. In 2001, Vali broke away from the European music system and started composing music based on the Iranian Dastgâh/Maghâm system. To explore his goals of replacing the European equal temperament tuning system; European polyphony; European musical form; and utilizing rhythmic cycles of the Dastgâh/Maghâm system, Vali started composing a series of chamber work using the title Calligraphy. This recording contains all twelve of his Calligraphies, composed between 2000 and 2011.

American composer Richard Aldag is also known as an educator and arts administrator. He holds a Ph.D. in Music from the City University of New York Graduate Center. He has received numerous commissions and served as composer-in-residence for the Sitka Summer Music Festival and the El Paso Pro Music Chamber Music Festival. Aldag has served on the faculties of San Francisco State University, San José State University, Pacific Union College, the Aaron Copland School of Music, Fordham University, and the Brooklyn Conservatory of Music. He was a special lecturer at the Shanghai Conservatory of Music in 1991 and 1992. His arts administration career includes executive director positions with the Napa Valley Symphony, the San Francisco Chamber Orchestra and the Los Lupeños de San José, among others. With this first recording of his music, Aldag shares some of his most recent chamber music, offering a range of ensemble and instrumentation. The inspirations and expressive intentions are similarly diverse. This recording offers a rich and finely curated showcase for Aldag's latest music with a chance to get to know this original and compelling composer through the intimate expression and vivid textures that are the distinguishing hallmarks of chamber music.

Composer Richard Felciano's music has always embraced the challenge of new possibilities -- new technology, but also an embracing of the function of sound in architecture and in the physical world. His attempts in his music to express humane sentiments while coping overtly with the problems inherent in the physical nature of the materials are a singular characteristic of this work. This compilation of his vocal music includes a work for sopranos and flutes; one for baritone voice, percussion, organ and electronic sounds; a work for voice and interactive electronics; one that is an environment for four performers that combines performer choice with live digital spatial processing; a work for women's voices, five harps and bell percussion; and a set of four unaccompanied choral songs.

Anyone who is familiar with the earlier Albany releases of Wilson's chamber music (TROY074, TROY389) or his Piano Concerto and Symphony No.1 recorded elsewhere, recognize him for his refreshingly unusual style, often reminiscent of Berg or Schoenberg. A Phi Beta Kappa graduate of Harvard, Mr. Wilson studied composition there, in Rome and at Rutgers University with Robert Moevs. He is also an accomplished pianist (having studied with Leonard Shure and Friedrich Wuhrer) and has performed Mozart concertos with the Hudson Valley Chamber Orchestra and the American Symphony under Leon Botstein. He currently holds the Mary Conover Mellon Chair in Music at Vassar and is Composer-In-Residence with the American Symphony Orchestra. His orchestral works have been performed by the San Francisco Symphony, the London Philharmonic, the Pro-Arte Chamber Orchestra of Boston, and the Hudson Valley Philharmonic. Here is an assortment of chamber works composed over the past twenty years, exhibiting his bracing, expressionistic style, featuring many of the performers he has associated with for years, including Rolf Schulte, one of the major performers of contemporary violin music in this country. Listeners who appreciate modern music that is accessible yet has plenty of personality will greatly enjoy this new release.

"27" An Opera in Five Acts, owes its origins to the friendship between soprano Stephanie Blythe and the artistic director of the Opera Theater of Saint Louis, James Robinson. They decided to commission one of Blythe's favorite composers, Ricky Ian Gordon, to create a new work for her. Gordon presented his idea of a fantasy on Gertrude Stein as a potential subject and "27" was born. 27 refers to the address of Stein's salon in Paris, 27 rue de Fleurus. Virgil Thomas said of that address that, "Every story that ever came into the house eventually got told in Alice's way, and [that became] its definitive version." Ricky Ian Gordon, long interested and perhaps obsessed with Gertrude Stein, had always wanted to write an opera about Stein and Alice Toklas. He found the perfect librettist in Royce Vavrek, a Brooklyn-based writer of opera, musical theater, and concert works. This recording was made at the world premiere performances of the work in Saint Louis.

Finally! This is undoubtedly the first commercial recording of the Virgil Thomson Cello Concerto (whose first movement provides the title for this disc) since the classic old Columbia recording with Luigi Silva from the early 1950s, and it's in SACD sound! This delightful work, wearing its Americana on its sleeve but couched in the framework of a classic work such as the Haydn, is full of the kind of joyful, melancholy and eccentric moods and hymn-tunes one hears in the classic Thomson film scores and orchestral works. The Four Portraits, adapted from the more than 140 piano pieces he wrote of friends, artists and acquaintances, were adapted by Silva; the Frederic James Portrait is an original by Thomson in this form. Charles Fussell has a link to the great American past as he studied with Bernard Rogers at the Eastman School, and his music maintains a traditional sound with somewhat more advanced touches. Hailed by John Williams and others as "an outstanding cellist and truly dedicated artist," Emmanuel Feldman has emerged as one of the most innovative cellists of his generation. Known for his intense, soulful playing and a broad range of repertoire, he enjoys an active career as a soloist, chamber musician, recording artist and champion of new music, having given premieres of works by Aaron Kernis, Gunther Schuller, David Diamond and himself.

This world premiere recording of Río de Sangre, a new opera by composer Don Davis and librettist Kate Gale, presents fictional characters and situations that offer a more general comment on political and historical events, aiming for a degree of universality. The action takes place in an unnamed country in the "Southern hemisphere" and the text is sung in Spanish, but the characters and events clearly echo conditions and crises from any place and any time. Commissioned by the Florentine Opera Company, Río de Sangre received its world premiere performance by the company in 2010. Composer Don Davis has enjoyed a successful and widely varied musical career, not only as a seminal and prolific composer of contemporary orchestral and chamber works for the concert stage, but also as a versatile dramatic composer and conductor of film and television music, including the feature film trilogy The Matrix, The Matrix Reloaded and The Matrix Revolutions.

Ross Bauer attended New England Conservatory and Brandeis, studying with John Heiss, Martin Boykan, Arthur Berger and Luciano Berio. His honors include a Guggenheim Fellowship, two Fromm Foundation commissions and a Koussevitzky commission. Bauer is a master composer of deeply expressive, highly charged music in a wide variety of genres. Throughout his works, whether they are orchestral, concerti with orchestra or chamber ensemble, or vocal or chamber music, his sense of form and instrumental writing is exquisitely idiomatic and his orchestration crystal clear and dazzling in its color. His vocal writing is particularly beautiful. He pays close attention to the meaning and sound of the texts that he sets, as well as to the formal implications of those texts. This CD, featuring music written in the 1990's for voice with instruments and for instruments alone, makes an excellent introduction to Ross Bauer's work, which traverses a wide range - from tender lyricism to tremendous ferocity. Bauer writes true chamber music in which every part is an essential element of an unfolding line and harmony. While the surface relationships may seem complex, the underlying harmony is always clear, and the pacing of that harmony masterful.

To honor the 150th anniversary of Debussy's birth, pianist Robert Cassidy offers a brilliant reading of his Préludes, Livre I. In addition, this beautifully recorded program includes a world premiere recording of David Noon's Elegy Variations, a work written in memory of one of his colleagues and Mozart's longest fantasy for piano. Robert Cassidy has performed in solo and collaborative recitals, and with orchestra, throughout the United States and Canada. A graduate of the Manhattan School of Music, Indiana University and Ball State University, Dr. Cassidy has appeared in venues such as Merkin and Weill Halls and the Banff Centre for the Arts. He is the pianist for the Almeda Trio and is on the faculty at Cleveland State University.

The American composer, Robert Hall Lewis, graduated with distinction in composition from the Eastman School of Music. His principal teacher was Bernard Rogers. He later studied with Nadia Boulanger in Paris and Hans Erich Apostel in Vienna. His music has been performed both here and abroad most notably by the American Composers Orchestra, the Boston Symphony Orchestra, the Baltimore Symphony, the Netherlands Radio Philharmonic, the London Symphony and the Royal Philharmonic. A frequent lecturer at American and European institutions, he has composed more than 80 works of which 59 are published. Included are four symphonies, four string quartets and nine works for solo wind instruments.

Robert Helps was one of the few musicians of the 20th century who identified himself as both a pianist and composer, a tradition of musical life that was more akin to previous centuries. To Helps, these dual facets of life were equally important and highly dependent on each other. As a teenager he studied piano with Abby Whiteside and composition with Roger Sessions. Helps often wrote about Whiteside's "outlining" or "the magic of rhythm:" the importance of feeling one's way through a piece not by individual notes, but by larger sections that draw one towards a much longer destination. And it was Sessions who jump-started Help's career as one of the leading American new music pianists of the 1940s and 1950s, when he handed Helps a copy of his From My Diary. Helps would eventually give the New York premiere of Sessions's Sonata No. 2. As a composer Helps forged his own way, identifying with no single style. His works have been described as neo-romantic and tonal, impressionistic, twelve-tone, and minimalist. Albany is proud to present this first volume of the complete works for solo piano as performed by Naomi Niskala, a pupil of Gilbert Kalish and Claude Frank. Helps did so much for American music with his classic recordings of the past forty years or so, and it's time to hear his own remarkable piano works in a complete edition.

Naomi Niskala writes, "It is with great pleasure that I present this second and final volume of Robert Helps' complete works for solo piano (Vol. I is on TROY925)...Helps' piano works vary tremendously in style and language (and) to answer the question of what Robert Helps' music is like, I would have to answer: genuine, honest, and heartfelt, lacking any and all superficiality." Classicstoday.com in reviewing the first volume said "...What most impresses me about Naomi Niskala's solid, intelligent, and caring virtuosity is that she is fully attuned to the substance and spirit of these works, yet does not feel compelled to emulate Helps' own performances...."

World premiere recordings of Symphony No. 2 and the Quintet highlight this compact disc of the esteemed Robert Helps' compositions. Conductor William Wiedrich thinks of Helps as a "romantic renegade." Each work on the recording has a truly unique and emotional bent that speaks deeply and meaningfully to the heart and soul.

Composer Robert Muczynski (1929-2010) garnered national and international recognition for his compositions, which have been heard throughout the world. Muczynski studied composition at DePaul University with Alexander Tcherepnin, crediting Tcherepnin for inspiring his career. He performed his first Piano Concerto with the Chicago Symphony in 1958 and was a noted film composer. He became composer-in-residence at the University of Arizona in 1965, where he spent the remainder of his professional career. Some may call Muczynski's music traditionalist or conventional, but there is no arguing his music is truly authentic, expressive, invigorating, and meticulously crafted. Pianist Zachary Lopes offers the first recording of his piano sonatas since the composer's own recording done in 2000. Lopes is an active soloist and collaborative artist and has given performance and master-classes across the U.S., South America, and Europe. He has held teaching positions at Wittenberg University and the University of Cincinnati College-Conservatory of Music and serves as President of the Kentucky Music Teachers Association. He studied at the University of Cincinnati College-Conservatory of Music and the University of Colorado at Boulder. He is on the faculty at Western Kentucky University.

Composer and conductor Robert Pound's numerous compositions include orchestral works for the Atlanta Symphony Orchestra and Columbus Symphony Orchestra and chamber works for ensembles including the Corigliano Quartet and Deviant Septet. A graduate of the University of North Texas and The Juilliard School, Pound was music director of the West Shore Symphony Orchestra. He is on the faculty at Dickinson College where he teaches composition and conducts the orchestra. This recording features three of his song cycles, which were commissioned in coordination with the awarding of The Stellfox Prize to the poets Maxin Kumin, Seamus Heaney, and Paul Muldoon, whose texts Pound set. Performed by tenor William Ferguson and baritone Jonathan Hays with pianist Craig Ketter, these song cycles pay magnify, reinforce and elaborate the affect of the poetry and its meaning.

These three sonatas for violin and piano, all of them from the last five years of Schumann's life, have always been curiously little known and underplayed. While the first sonata is the best known of the three, it is not uncommon to come across musicians who are not familiar with the second and third sonatas, with many assuming that there are only two sonatas. The structures of these sonatas may not be the most readily comprehensible, however the musical inspiration Schumann displays is hauntingly original, rewarding for the performer and listener alike and deserving to be as much a part of the canon as the more frequently performed Brahms sonatas. Acclaimed artists, violinist Jennifer Frautschi and pianist John Blacklow, give compelling performances of these sonatas. Performing together since 1995, they were selected by Carnegie Hall for its Distinctive Debuts series and have performed at world famous venues in Europe as part of the European Concert Hall Organization's Rising Stars series.

Over four decades, composer Robert Sirota has developed a distinctive voice, clearly discernible in all of his work — whether symphonic, choral, stage, or chamber music. His music has been performed by leading ensembles in the United States and abroad and featured at the Tanglewood, Aspen, Yellow Barn, and Cooperstown festivals. A graduate of Oberlin and Harvard, Sirota served as director of the Peabody Institute, and as president of Manhattan School of Music. This, the second recording of his music on Albany Records, features his compositions for violin and piano. The two sonatas are recent works, having been written in 2012 and 2013, while Summermusic dates from 2000.

The fine American composer, Robert Ward, Pulitzer Prize winner for his opera The Crucible, studied at the Eastman School of Music, The Juilliard School, and the Berkshire Music Center. He has taught at Queens College, Columbia University, Juilliard and Duke University where he held the Mary Duke Biddle Chair in Music. He was the Director of the Third Street Music School Settlement, Assistant tot he President of Juilliard and Executive Vice-President and Managing Editor of Galaxy Music Corporation and Highgate Press before becoming president of the North Carolina School of the Arts in 1967. He retired from Duke University in 1988 and since that time has lectured widely in this country, Europe, the Far East and Latin America. He recently won the Gold Baton of the American Symphony Orchestra League and received an Honorary Doctorate of Fine Arts from the University of North Carolina at Greensboro.