Catalog

Karel Husa's String Quartet No. 4 (Poems) was commissioned by the National Endowment for the Arts for the consortium of the Colorado, Blair and Alard Quartets. The works was completed in the spring of 1990 in Ithaca, New York. A collection of six poems, the String Quartet No. 4 explores possibilities of unusual sonorities in a virtuosic writing. When Lucy Mann of the Naumburg Foundation requested a new work for the Colorado Quartet in 1983, Ezra Laderman thought the proposal over for about a week, and it was during this time that he realized that his Quartet No. 6 could be the first work in a triptych. He felt ready now to take the same material he had used in No. 6, music inspired by four youthful personalities, and place it "in the midst of life" as Laderman says. The four-note-motive of NO. 6 strides out again at the beginning of No. 7 - only now it is inverted, so that it reaches muscularly upward. The String Quartet 1982 by Mel Powell was composed for the Composers String Quartet, the Sequoia String Quartet and the Thouvenel String Quartet under a consortium commission from the National Endowment for the Arts, which, at the same time, commissioned this quartet and quartets from Milton Babbitt and Elliott Carter. Powell's Quartet is played through as a single movement with clearly differentiated subdivisions.

Acclaimed saxophonist Christopher Creviston offers arrangements, piano reductions and a world premiere recording for his second recording on Albany Records. The arranger of the popular Poulenc Sonata for flute, Creviston has done a magnificent job of adapting this work for the saxophone. Composer Dorothy Chang wrote Two Preludes for Christopher Creviston in 1993 and they are receiving their world premiere recordings on this disc. As a soloist and with the Capitol Quartet, Christopher Creviston has been featured with bands and orchestras across the U.S., including the Baltimore, Indianapolis and National Symphony Orchestras and is in demand as a recitalist and clinician. Now on the faculty at the Crane School of Music, Dr. Creviston has held positions at the Greenwich House of Arts, the University of Windsor and the University of Michigan.

The Right Honourable Sir Gerald Hugh Tyrwhitt-Wilson, 14th Baron Berners in the peerage of England, and a baronet, was born on September 18, 1883 at Apley Park, near Bridgnorth, Shropshire. Educated at Eton, and later in Dresden, Vienna, France and Italy, mainly in pursuit of knowledge of languages to equip him for the diplomatic service, he succeeded his uncle in 1918, assuming the additional name of Wilson by Royal Charter a year later. He served as honorary attaché in Constantinople and later in Rome, but on his elevation relinquished theses posts, returning to England and his inheritance, several country estates, and lived the rest of his life, ostensibly, as a country gentleman. This, however, was only on the surface. He was a man whose music drew the highest praise from Stravinsky, and whose no inconsiderable literary and painting skills were to make him "the versatile peer" in the national press, but it was as a composer that he wished to be remembered. Berners' musical output was small by most standards and the case if often made that if he had had to earn a living from the arts he would have produced more. This is debatable. Less in doubt is that his art was well appreciated among his fellow artists - and aristocrats. Osbert Sitwell summed it up by writing that "...in the years between the wars he did more to civilize the wealthy than anyone in England. Through London's darkest drawing-rooms, as well as lightest, he moved ... a sort of missionary of arts."

Here is an interesting package of contemporary music, highlighted by a performance of the Symphony No. 2 by Karel Husa in its world premiere recording. The Bowling Green Philharmonia was founded in 1918 by decree of the university president. It is a combined student-faculty ensemble. In the last several years the orchestra, with conductor Emily Freeman Brown, has established a wider reputation through its performances at the Bowling Green New Music and Art Festival. Don Freund was born in Pittsburgh and studied at Duquesne University and the Eastman School of Music. His teachers included Darius Milhaud, Charles Jones, Wayne Barlow, Warren Benson and Samuel Adler. Chris Theofanidis was born in Dallas, Texas and holds degrees from Yale, Eastman and the University of Houston. His piece On the Edge of the Infinite was composed to commemorate the 700th anniversary of the Grimaldi Empire in Monaco. Sam Adler's Requiescat in Pace is dedicated to the memory of John. F. Kennedy and was written in Dallas during November, 1963, immediately after the assassination. The Canadian composer, Jeffrey Ryan, studied both in his native Canada and at the Cleveland Institute with Donald Erb. Writes Mr. Husa: "Although not written in a classical or romantic style, my symphony nevertheless reflects symphonic form.'' Marilyn Shrude is professor of music composition and director of the MidAmerican Center for Contemporary Music at Bowling Green. Into Light was written at the request of Henry Charles Smith for the World Youth Symphony Orchestra and the opening concert of the 67th season of the Interlochen Arts Camp in 1994.

The Scottish-born Judith Weir began her career as an oboist and took composition lessons with John Tavener and Robin Holloway. Her music is performed in Europe and the United States. Her works reflect her diverse interests in narrative, folklore and theatre, with British folk music a strong influence. This release is an excellent sampling for those unfamiliar with her work: The Consolations of Scholarship is a highly-compressed opera, based on 14th century Chinese Yuan plays, where all the characters are played by one multi-voiced singer. The Piano Concerto, where the soloist is partnered by nine solo string players, emulates the scale of the early Mozart concerti; King Harald's Saga, is a "Grand Opera in Three Acts" for solo soprano voice, depicting the attempted invasion of England by Norway in 1066. Inspired by Emily Dickinson, Musicians Wrestle Everywhere is a one-movement concerto for ten instruments, reflecting the "street environment" of Weir's own urban neighborhood. You'll find Weir to be a highly original compositional voice.

Mark Kroll writes: "Composers began writing new music for the harpsichord almost as soon as the instrument was rescued from extinction at the end of the 19th century. In fact, their contributions have played an important role in returning the harpsichord to its rightful place in the musical mainstream. The number of compositions has grown dramatically since those early days - and so has the quality. Each new work seems to exploit the unique sonorities of the instrument with ever increasing skill and sensitivity, and the contemporary repertoire now features excellent harpsichord music by almost every great composer of our time. American composers have been particularly enthusiastic advocates for the instrument. Six of them are represented on my first CD of contemporary American harpsichord music for Albany Records (TROY 457). This recording continues my exploration and support of this repertoire, and features some of the most exciting new contributions to the genre. All except the Hovhaness have been written in the last 25 years, and three belong to the first harpsichord pieces of the 21st century.

Robert Ward's The Crucible was commissioned by the New York City Opera in 1961 and is based directly on the Arthur Miller play, with the libretto by Bernard Stambler. The play, written in 1953, was inspired by the McCarthy witch-hunt of the 50s. The opera won the Pulitzer Prize and a New York Music Critics Circle Citation. A recording of the opera was released in 1961 and this has been the only existing recording of the work until now. Ward himself expressed his desire to have a modern recording of the work to producer John Ostendorf. Purchase Opera, with its deep roster of fine young professional singers and its collaboration with the Purchase Symphony and conductor Hugh Murphy, proved the right fit for this new recording. Ward systematically employs idiosyncratic harmonic language and melodic motifs to create distinct musical landscapes for each of the opera's characters. These landscapes reveal much about each character, sometimes even more than their words do.

When the final curtain fell and the last notes of the orchestra died away on the opening night of The Crucible, an excited audience thundered its approval. The opera had been commissioned by the New York City Opera. The libretto and score were written in less than a year, the last page of the full score having been completed just 11 days before the first performance on October 26, 1961. In the days that followed, the press was almost unanimous in their high praise of the work and at the close of the 1961-62 season, it was awarded the Pulitzer Prize for Music. The Crucible, play and opera, draws upon the frenzy and anguish of the witch-hunt that took place in Salem, Massachusetts, in the 1690s. Eminent divines, such as Cotton Mather and the Reverend Hale, supplied ample theological proof for the existence of witches. However, in the actual conduct of the witch-hunts the real motives were as likely to be greed, local animosities, and sexual repression as obedience to the Biblical admonition, "thou shalt not suffer a witch to live." Though the composer and librettist have not utilized any texts or musical material from the period, they have, through the use of rugged hymn-like melodies and tunes almost like folk song in character, managed to convey the feelings and atmosphere of the time.

The opera, The Curious Case of Benjamin Button is based entirely on the very ironic, humorous short story by F. Scott Fitzgerald. The libretto was written by Estela Eaton, the composer's daughter. Composer John Eaton was called " the most interesting opera composer writing in America today" by Andrew Porter. He has also received international recognition as a composer of electronic and microtonal music. Of his more than 20 operas, perhaps the best known is The Cry of Clytaemnestra. A recipient of the "genius" award from the MacArthur Foundation, he has also received an award from the National Institute of Arts and Letters. This DVD was filmed at live performances sponsored by the Center for Contemporary Opera and presented as the opening event of the ACA's Festival of American Music in 2010.

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

Born in New York City, Jay Reise's choreographic tone-poem The Selfish Giant, based on a fairy tale by Oscar Wilde, was commissioned by the Philharmonia Orchestra and conducted by Djong Yu in London in 1997. His opera Rasputin, described in The Washington Times as "a spellbinding, challenging and profoundly beautiful creation," was commissioned and premiered by the New York City Opera in 1988. Memory Refrains (a string quartet in one movement) was premiered by the Cassatt Quartet in 2002. Open Night was the first work commissioned by the Kimmel Center Fresh Ink Contemporary Music Series in Philadelphia in 2003. Reise studied with George Crumb, jazzman Jimmy Giuffre, Hugh Hartwell, Carnatic rhythm with Adrian L'Armand, harmony with George Rochberg, and Richard Wernick. Deeply influenced by Carnatic (South Indian) music and jazz, Reise has developed his own rhythmic method which is a signature element of his music after 1990. Jay Reise is the Robert Weiss Professor of Music Composition at the University of Pennsylvania in Philadelphia and president of contemporary music ensemble Orchestra 2001. Marc-Andre Hamelin is universally regarded as one of today's masters of the keyboard. Critics and audiences alike have enthusiastically responded to his seemingly boundless technique, which embraces both stunning virtuosity and profound sensitivity. The New York Times dubbed him a "supervirtuoso," and the London Financial Times said, "Hamelin's wizardry defies the laws of nature." Mr. Hamelin's work in the recital hall and on the orchestral stage has taken him throughout the world. His prolific recording career has resulted in nearly 45 recordings and numerous industry awards and nominations.

Violinist Martha Walvoord and double bass player Jack Unzicker are both on the faculty at the University of Texas at Arlington with notable performing and teaching careers. This recording of new works for violin and double bass has as its centerpiece Michael Daugherty's The Diaries of Adam and Eve. The work was inspired by a novella of the same name by Mark Twain, which was published in 1906. Divided into seven movements, the music animates Twain's witty reimagining of the biblical tale of the first woman and man to inhabit the earth and the Garden of Eden. Other works written by George B, Chave, Andrea Clearfield, Tom Knific, and Daniel M. Cavanagh round out this program of new music for this unusual ensemble.

The second half of the 20th-century saw a great blossoming of choral singing in America, from the emergence of the great choral singing schools to increased professionalism in church music programs and the founding of major professional choral groups and associations. One result of this overall rise in choral excellence was an expansion to the body of sophisticated, secular art-music for choruses as American composers responded to the increasingly skilled, nonreligious choral ensembles practicing the craft. This recording, expertly performed by the Washington Master Chorale, offers some of the best of this art-music. Founded in 2010, the Washington Master Chorale is a semi-professional chorus in Washington, D.C., conducted by Thomas Colohan. Their purpose is to advance American choral excellence by combining skilled vocal artistry with superb poetic choral literature; to contribute to the choral canon through commissioning leading American composers and to present choral works in the context of their culture and time.

Pianist and educator David Witten's career has included numerous concert tours in Europe, Israel, Russia, China, and South America. He is the editor of Nineteenth-Century Piano Music: Essays in Performance and Analysis, which includes his landmark analytical study of the Chopin Ballades. A graduate of Johns Hopkins University, SUNY Buffalo and Boston University, he is on the faculty of Montclair State University. Witten has chosen four works by Mario Castelnuovo-Tedesco, who was born in Florence, but whose ancestry traces directly back to a Sephardic Jewish family that escaped the Spanish Inquisition. Castelnuovo-Tedesco's musical style is filled with colorful harmonies and a penchant for modal melodies. Coming to the United States in the mid-1930s, he found work at MGM and other studios, ultimately composing soundtracks for more than 200 films. This recording features both his early and late piano works -- two concert suites from 1924 and works from his later years in California.

This recording of works for cello is special because all of the compositions were written for Eric Bartlett. Music by one of America's most distinguished composers, Hugo Weisgall; two young composers, David Sanford and Peter Susser; as well as the gifted composer Paul Suits, is offered in stunning performances. Each of these composers has, in his own way, found the essence of cello. Eric Bartlett, a member of the Orpheus Chamber Orchestra and the New York Philharmonic, has also served as principal cellist of Lincoln Center's Mostly Mozart Festival for 14 years. A graduate of the University of Massachusetts and the Juilliard School, he is the recipient of a Solo Recitalist's Award from the National Endowment for the Arts.

The Firefly was the first of Friml's Broadway successes, a list that also includes High Jinks (1913), Rose Marie (1924), and The Three Musketeers (1928). Otto Harbach's libretto for The Firefly was originally intended to have music by Victor Herbert as a star vehicle for soprano Emma Trentini, but the two had an artistic falling-out, so impresario Arthur Hammerstein turned to the young Rudolf Friml, who responded with a bright and melodious score that included Giannina mia, Kiss Me, and Sympathy. At the December 2, 1912 premiere, the New York Times noted that encores were demanded for nearly every number and extolled Trentini as a "live wire...who as the Firefly proved herself a whole pyrotechnical show." Friml peaked in the 1920s and did not adapt to the changing musical theatre modes. But he remained a vigorous personality through most of the last century and died in 1972. For more than 25 years, the Ohio Light Opera has been dedicated to producing, promoting and preserving the best of the traditional operetta repertoire. These shows offer the operetta fan a little of everything: both well-known and lesser-known Gilbert and Sullivan, operettas by French, Viennese and American composers, and revivals such as The Firefly. This set includes Friml's complete musical score and most of the spoken dialogue from the 2006 production and will hopefully give the operetta aficionado a good taste of what makes this company unique.

Pianist Ryan Fogg is on the faculty at Carson-Newman College. He studied at the University of Texas at Austin, the University of Houston and East Texas Baptist University. Fogg has chosen works by composers from around the country for this program of contemporary American piano music. What is particularly interesting is the range of expression and unique compositional style displayed by these composers who are contemporaries.

Victor Herbert's exotic 1898 three-act operetta score abounds with Hussar marches, gypsy love songs, comic numbers, romantic duets and brilliant finales. The eighth of more than 50 Herbert stage works, The Fortune Teller was presented in London in 1901 with its star from New York, Alice Nielsen. The cast, orchestra and chorus of the Ohio Light Opera bring this delightful work back to life.

Tom Cipullo comments that the works on this recording -- all world premieres -- span a decade-and-a-half of his compositional life. The earliest (The Husbands) dates from 1993 and the most recent (Of a Certain Age and Insomnia) were written in 2009. Cipullo's "dream team" of interpreters includes soprano Laura Strickling, pianist Liza Stepanova, mezzo-sopranos Jennifer Beattie and Naomi Louisa O'Connell, baritones Steven Eddy and Michael Anthony McGee, tenor Ian McEuen and pianist Brent Funderburk. Known mostly for his vocal music, Cipullo has also composed orchestral, chamber, and solo instrumental works. His opera, Glory Denied, has been performed to critical acclaim in New York, Washington, and Texas.

Tim Page has described Five as "...another in a distinguished series of compositions Wuorinen has written for the cellist Fred Sherry. Dating from 1987, it is the most recent piece on this disc and (to employ, reluctantly, what has become an increasingly noxious code word) probably the most "accessible."" Five was commissioned by the New York City Ballet for their 1988 American Music Festival. Fred Sherry writes: "Five is a cellist's showpiece, a dance, a thrill for the audience, and a beautiful example of Wuorinen's versatility and technique." Michael Steinberg writes: "The Golden Dance was commissioned with the cooperation of the San Francisco Symphony by the Meet the Composer Orchestra Residencies program. It was written for Herbert Blomstedt and the San Francisco Symphony on the occasion of the Orchestra's 75th anniversary. It was completed in May, 1986 and was introduced on September 10, of that year. Wuorinen, who likes to make his titles topical and, if possible, punning, has called this piece for San Francisco The Golden Dance. No need to elaborate on the associations called up by the word 'golden' in California. The other meaning is not obvious, and that is the role played in the design by the golden section, that classical division of a line, thought by the Greeks to yield an aesthetically perfect proportional relationship, where the smaller section is to the larger as the larger is to the whole." The Concerto for Amplified Violin and Orchestra was commissioned by the Fromm Music Foundation for Paul Zukofsky, Michael Tilson Thomas and the Boston Symphony Orchestra. It was composed between June 25, 1971 and April 2, 1972 and premiered at Tanglewood on August 4, 1972. The Concerto is in three movements and is marked by a unique relationship between soloist and orchestra; they are on an equal acoustic footing. The amplification of the soloist enables him to compete with the entire orchestra at full volume. The impact is visceral and immediate.

The Gondoliers, the sunniest of all the Savoy operas, was preceded by dissension and followed by the bitterest of quarrels between its collaborators. After Yeoman of the Guard (1888), Gilbert and Sullivan exchanged peevish letters, each accusing the other of swamping his efforts. D'Oyly Carte attempted to make peace between the two, and they began their new collaboration, in Gilbert's words, as "master and master -- and not as master and servant." (One wonders, in the latter, supposedly ideal, arrangement, just who was which!) During the premiere of The Gondoliers at the Savoy in London, on December 7, 1889, the demand for encores almost doubled the length of Act I. Critics praised not only the score and libretto, but also the lavish sets and costumes. This live performance is yet another feather in the cap of the Ohio Light Opera, which has been dedicated to producing and promoting the best of the traditional operetta repertoire for more than 25 years. This CD set, like so many others in the Ohio Light Opera/Albany series, will give the operetta aficionado a taste of what makes this company unique.

Here we have the first complete CD recording of the final Gilbert and Sullivan romantic comic operetta written in 1896, set in the imaginary land of Pfennig-Halbpfennig. It was recorded at the Ohio Light Opera Company's 25th anniversary season in 2003. After Utopia Unlimited (1893), Gilbert and Sullivan collaborated -- briefly and unsuccessfully -- with other partners. D'Oyly Carte brought the two together again in 1895, when they began work on what would be their 14th and final light opera. With an unintended symbolism, The Grand Duke brought their joint careers full circle: many of the ingredients of this plot echoed those of their first collaborative efforts of more than twenty years earlier. When The Grand Duke opened at the Savoy Theater on March 7, 1896, the reviews ranged from enthusiastic to disappointed. It ran for 123 performances, not a success by G & S standards, and was never again performed professionally in England until D'Oyly Carte presented a concert version in 1975, with a recording of only Sullivan's music (omitting Gilbert's extensive, but very entertaining, dialogue). After the premiere, Sullivan wrote a friend: "Why reproach me? I didn't write the book...another week's rehearsal with W.S.G. and I should have gone raving mad." Of the work itself, librettist Gilbert complained: "I am not a proud mother, and I never want to see the misshapen little brat again." Their well-documented dysfunctional relationship aside, The Grand Duke contains much hilarious material and charming music. It is great to have it here in its first complete CD recording with all the delightful dialogue included.

A few years back when the regular stereo version of this CD was released, we called it "the ultimate release for the American Symphony fan." Well, in SACD format, it is of even more importance, since those magnificent orchestral colors truly shine in surround-sound! This has always been one of most popular CDs in our catalog, and probably went a long way in changing the minds of those who thought Harris only wrote one Symphony - No. 3. Admittedly, when you see the cover with its "Great American Ninth" in large letters, you will be right to think we have gone "commercial." Garish? You are right! Hype? Right again! This is wonderful American music that should appeal to the same public who likes Aaron Copland, Morton Gould and Leonard Bernstein - and the crowd that loves to hear a big orchestral sound coming from their 5.1 Surround systems!

When the planning for this set of recordings first began, the driving concept was to revive interest in the American choral repertoire of the middle of the 20th century as represented by recordings made by the Gregg Smith Singers. With the death of Gregg Smith on July 12, 2016, these recordings also serve as a memorial to the career of a man whose devotion to choral music in general, and especially American choral music "of every time and place," was greater than that of almost any other of his generation. Smith had an uncanny gift for seeking out and nourishing the talent of lesser-known American choral composers—both young and old—showcasing their works through concerts and recordings. Gregg Smith was founder and conductor of the Gregg Smith Singers; conductor of the Long Island Symphonic Choral Association; and composer-in-residence for Saint Peter's Lutheran Church in New York, as well as being an accomplished, prolific composer. No other conductor did as much to raise the standards of choral singing in the second half of the 20th century, or was as influential on other American choral conductors and composers. The full array of mid-twentieth century American choral music is presented here—all coming from the archives of the Gregg Smith Singers.

Charles Wuorinen writes: "The Haroun Songbook is a collection of excerpts from my opera Haroun and the Sea of Stories (based on the novel by Salman Rushdie), rearranged for four singers and with a newly composed piano part. This latter is neither mere accompaniment nor a simple reduction of the original orchestral score, but rather a newly conceived virtuoso solo part. The selections are arranged so as to make the Songbook a complete independent piece, but for this recording we also include an outline of the plot of the underlying opera, which should help to place the individual pieces in the Songbook in their original context." The Haroun Songbook was commissioned by Works and Process at the Guggenheim and was premiered on October 13 and 14, 2002 at the Guggenheim Museum, performed by the same cast heard in this recording.

Daniel McCarthy is a composer whose music defies categorization in the usual sense. With his background in opera, chamber music, rock and jazz, his music is full of rhythmic energy and excitement, with a fresh appeal for today's audiences. As USA Today's David Patrick Stearns has written, "(his works) have the vigor of pop music and the spontaneity of jazz." This recording is a hybrid surround sound recording and can be played on all cds players as well as super audio equipment.

Along with his brother, the symphonist Adolfs Skulte (1909-2000), Bruno Skulte represented a bridge between the Romantic era and the blooming of modern Latvian music. After arriving in the U.S. in 1949 he devoted his energies to Latvian music festivals and choir directing. This nationalistic opera was one of his crowning achievements, and we are proud to present this first recording.

Horn soloist Eric Ruske has established himself as an artist of international acclaim. Named Associate Principal Horn of The Cleveland Orchestra at the age of 20, he also toured and recorded extensively during his six-year tenure as hornist of the Empire Brass Quintet. His impressive solo career began when he won the 1986 Young Concert Artists International Auditions, First Prize in the 1987 American Horn Competition, and in 1988, the highest prize in the Concours International d'Interprétation Musicale in Reims, France. Mr. Ruske is in great demand as a teacher and clinician, and in addition to having given master classes at more than 100 universities and conservatories in the United States, he has taught at the Royal Academy of Music in London, Central Conservatory of Music in Beijing, Banff Centre in Canada, Royal Scottish Academy of Music and Drama in Glasgow, and the Tokyo College of Music, among many others. Professor of Horn and member of the faculty of Boston University since 1990, Mr. Ruske also directs the Horn Seminar at the Boston University Tanglewood Institute. His complete discography, including his critically acclaimed recording of the complete Mozart Concerti with Sir Charles Mackerras and the Scottish Chamber, is included in this box set.

America's premiere opera composer here presents his first full-length comic opera, based on the classic farce "A Flea in Her Ear" by Feydeau. But here, the composer, working from his own libretto, has set the work on a ranch in Texas in the 1940s. The original source's hilarious story of supposed infidelities and the characters' outlandish attempts at getting even without finding out the truth of the matter translates wonderfully to the new setting and, indeed, at the first Lexington performances both critics and audiences were delighted by the new work. This represents the latest in an ongoing project with Albany and Pasatieri to record his major stage works (the most recent being the acclaimed "Frau Margot") and we're certain you'll share in the high spirits and fun that the Kentucky audiences had!

Scott Eyerly received his master's degree from the Juilliard School, where he studied with Elliott Carter, and his bachelor's degree from the University of Michigan School of Music, where he studied with William Bolcom and Curtis Curtis-Smith. He currently lives in New York City. About his opera he writes: "In 1989, while seeking a story for my first opera, I picked up a copy of The House of the Seven Gables. It was love at first read. What seized my imagination immediately was the atmosphere and the characters. Vivid stage pictures suggested themselves to me, from the vast gloomy house to its singular characters. I was drawn to the powerful morality in the tale. Hawthorne's exploration of human nature, especially the repercussions of one's actions on others, struck me as being no less relevant today than in 1850. Having received a grant in 1992 from the National Endowment for the Arts to begin writing the opera, I spent six weeks in Salem, Massachusetts, where the actual House of the Seven Gables stands. Although the story is fictional, it is set in a real house. The chance to see what Hawthorne had seen intrigued me. Seven years were to pass between my Salem visit and the Manhattan School's announcement of the opera's premiere." With the current opera craze on the part of classical music lovers, here is a new opera which should have a broad appeal to anyone who enjoys the voice.

This recording of the art songs of Elaine Ross, set to poetry by women, seeks to broaden the interest in the compositions of living female composers. Elaine Ross is President and CEO of the newly founded Southern Atlantic Conservatory of Music, set to open in 2025. She has been on the faulty at Morgan State University, Towson University, Ohio University, and the Colburn Conservatory. Her music has been performed in France, Germany, and Israel, as well as the United States. Soprano Theresa Bickham, praised for her "fine piano nuances" and "expressive legato line" has performed around the world as an opera singer and as a recitalist. A graduate of the University of Maryland College Park, the University of Houston, and Towson University, she is on the faculty at the University of North Carolina Greensboro.

Pianist Stephanie Bruning notes that the Indianist Movement is a title many music historians use to define the surge of compositions related to or based on the music of Native Americans that took place from around 1890 to 1920. Hundreds of compositions written during this time incorporated various aspects of Indian folklore and music into Western art music. The character piece was a very successful genre for composers to express themselves. It became a natural genre for composers of the Indianist Movement to use as an outlet for portraying musical themes and folklore of Native American tribes. Eventually this enthusiasm died out leaving a large body of piano literature collecting dust, out of print, and virtually unrecognized. Bruning offers a selection of some of these works with this recording offering a glimpse of each composer's style and a look into musical and social issues America was grappling with at the end of the century. Stephanie Bruning is a graduate of Drake University and the University of Cincinnati, College-Conservatory of Music. She is on the faculty at Morgan State University and serves as a reviewer for Clavier Companion.