Catalog

Argentinian-born Désirée Halac presents a beautifully performed recital of songs by Carlos Guastavino. The obituary written for The Guardian called Guastavino the most quietly distinctive voice in 20th century Argentinian music. His distillation of local folk elements into an avowedly romantic-nationalist idiom was unique and markedly different from his colleagues. Guastavino wrote some 300 works, more than half of them the delightful songs, often winsome or tinged with sadness, on which his reputation rests.

An American original, John Jacob Niles was a composer, performer, and author. Born in Louisville, Kentucky in 1892, he came from a musical family. While working with a surveying team in eastern Kentucky as a teenager, he kept a notebook in which he recorded lyrics and music of old folk songs known in the area. Niles served as a U.S. Army pilot in World War I and made numerous reconnaissance flights until he suffered serious injuries in a plane crash. After the war he studied music at the University of Lyon, the Schola Cantorium in Paris and the Cincinnati Conservatory of Music. He renewed his search for folk songs in Appalachia as he accompanied noted photographer Doris Ulmann on her travels. He composed and arranged more than 1,000 songs, many of them made famous by Jo Stafford. These songs of our American heritage are beautifully sung by Hope Koehler.

This recording is, in many respects, a unique and creatively conceived kaleidoscope of American culture presented through the expressions and influences of African Americans. Moses and Floyd offer exceptionally convincing interpretations of each song, with clear understanding of the nature and unique message contained in each. The diverse genres, art songs by African American composers and artful settings of spirituals, also include works written by other Americans who use idiomatically African American musical resources, and whose creative energies have been powerfully influenced by African American folk life. This is a delightful tapestry of works that comprise a cross section of musical personalities and compelling lyrical content.

Richard Pearson Thomas is equally at home writing works for the concert hall and the stage (including the Off-Off Broadway hit "Parallel Lives") and "Ossessione" is his modern counterpart to the "standard" repertoire of 24 Italian Art Songs, with a re-examining of the texts casting them through a modern perspective. The first performance with John Muriello led to a collaboraton, including Thomas' unique adaptation of Dickens' "A Christmas Carol," displaying Muriello's remarkable abilities as a singing actor. As a novel bonus, this CD also includes their sparkling interpretations of classic pop songs about love such as Arlen's "That Old Black Magic" and Richard Rodgers' "Bewitched."

One of our most distinguished composers, Pultizer-Prize recipient John Harbison currently is Institute Professor at MIT and has composed chamber works, concertos, four Symphonies (with a Fifth scheduled for a first performance by the Boston Symphony Orchestra) and the Metropolitan Opera commission The Great Gatsby (1999). This release features song cycles based on the works of one of the most prominent Italian 20th century poets, Eugenio Montale (1896-1981). His best known works, Cuttle-Fish Bones (1925-28), The Occasions (1939) and The Storm and Other Things (1956) mark some of the finest achievements in the trend known as Hermeticism. The role of poetry is the absolute realm of the word as prophetic tool, which allows the poet (and by extension humankind) to interpret the world of visible things. Harbison admired the work of Montale for more than a decade before embarking on Motetti di Montale, which was dedicated to the poet on his 85th birthday.

This series devoted to one of America’s most significant composers brings together 12 vocal works, all but one written in the last two decades. Most of the shorter selections were composed for the Works and Process at the Guggenheim series in New York, and were designed for programs honoring the various poets (Les Murray, John Ashbery, Derek Walcott, Stanley Kunitz and Paul Auster).

Jean Berger was a renowned German-American conductor and composer. Beyond composing, he was active as a coach, accompanist and musicologist. His choral works have been widely performed throughout America and Europe. Despite having composed 109 songs for solo voice, in diverse languages, from 1937 to 1992, it is only in recent years that they have been discovered and sung -- a performing gap that is closed by this recording. With much to offer the novice and professional singer, the music is vocally accessible and the poetry offers a wealth of moods and expressions for both the discerning performer and listener.

As America's premiere writer of classical vocal works states, "...I embarked on the madness of a composer's career by writing songs...My singular reputation, such as it is, has always centered around song..." The present work is based on texts by 24 composers that "seem endemic to this autumnal moment, as I look back to a youth 'which foresaw in the light of a summer day the end of all life.'"

Eric Moe has been described by the New York Times as a composer of "music of winning exuberance," and has received numerous grants and awards. His works are edgy but with an almost pop-like appeal. This collection of recent vocal works on very diverse texts joins his previous two releases of original works on TROY506 and TROY597.

All composers of vocal music struggle to find texts suitable for musical setting. The search for words that ignite invention, inspire harmony, dictate rhythm, and suggest texture - all the while submitting to purely musical exigencies of form - is a perpetual and integral part of the creative process. Though the songs on this CD focus specifically on manifestations of love - infatuation, passion, anxiety, fidelity, betrayal, delusion, loneliness and reminiscence - their texts come from a wide range of sources. The larger theme is nonetheless poignantly epitomized by a phrase from James Joyce, The Unquiet Heart, which tells of the unsettled, unnamable and unutterable sensations we all experience in our lifelong search for love. Karen Smith Emerson's extensive concert career has included performances with the Los Angeles Chamber Orchestra, the St. Paul Chamber Orchestra, Boston Music Viva and the Marlboro Festival. Equally at home in music of the Baroque and early Classical music, she has performed leading roles in operas by Gluck, Handel and Mozart.

Robert Schumann was unwell in the years preceding the composition of Dichterliebe. The year 1840, however, proved to be one of unexpected delight. He was finally able to marry the woman he loved and coveted, Clara Wieck, the daughter of his former teacher, Friedrich Wieck, a musical icon in Leipzig. It seems odd, then, that after a five-year struggle to obtain the right to marry the woman he loved and the constant success of such works as Davidsbundertanze, Op. 6, Kinderszenen, Op. 15 and the song cycles Liederkreis, Op. 24 and Frauenliebe und Leben, Op. 42, he should turn to such a dark subject as the one presented in his sixteen-song cycle Dichterliebe, set to texts by the German poet Heinrich Heine. "A Poet's Love" is a murky tragedy with its early flourish of love, its eventual deterioration and the poet's despair of every loving again, even preferring death to a new attempt. American poet Elizabeth Kirschner, who teaches at Boston College and who has collaborated with many modern composers, has created a new set of texts for Dichterliebe, which breaks the cycle into four distinct sections of four songs each (Spring I-IV, Summer V-VIII, etc.). Kirschner has taken the "season of love" in the Heine poems and transformed them into a full year of desperation, elation, introspection and rejection. Soprano Jean Danton has performed widely on the opera, oratorio, musical theatre and concert stage, and has previously performed in the world premiere of Carson Cooman's Seducing Summer by the Sea, on a libretto by Elizabeth Kirschner.

Ruth Schonthal's compositions, which reflect the concerns of today's world, display a unique blend of deeply-rooted European traditions, depth of feeling and masterful blending of traditional and contemporary techniques. Born in Hamburg of Viennese parents, she began composing at five. She was the youngest student ever accepted at the Stern Conservatory in Berlin but, being Jewish, she was later banished. Her family fled the Nazi regime by settling in Stockholm, where her exceptional talent was recognized, leading to her being accepted at the Royal Academy of Music. Again, on the run, the family settled in Mexico City, where Schonthal studied with the famed Manuel Ponce. She eventually continued her studies at Yale under Paul Hindemith. Through the exposure to diverse influences and methods in her travels, Ruth Schonthal was able to extrapolate an unusually rich mixture of compositional techniques. She never followed "current" trends, instead finding her own unique voice. In these songs, composed both early and late in her career, one can sense the emotional qualities she considered foremost in her music. She once said that she envisioned her work as a mirror held up to a world full of complex human emotions. In short, these are works that reveal the innermost soul of a complex and fascinating composer.

Thomas Pasatieri has proven over the past 30 years, starting while he was still a Juilliard student, to be one of America's most significant opera composers. Among the many works to his credit are The Seagull, available on TROY579/80, and a collection entitled Divas of a Certain Age on TROY841. By 1984 he had had many operatic triumphs in this country. "But I was weary of the enormous effort it took to create a new stage work only to have it premiered and then not performed again," he writes. Around that time he left for the West Coast, working as an orchestrator for film scores, with many fascinating stories to tell of his experiences. Just the same, Pasatieri has made it clear that his true calling has been as an opera composer. With such an interest in writing for the voice, he has composed lieder and song cycles such as the ones on this disc. The cycles span some thirty years, and we both performed and dedicated to important singers for whom he has written his operas, and who recognized his superb gifts. Three Poems of James Agee "are dark and both poetry and music reflect the fearful prospects the innocent faced in the oppressive Cold War epoch. Yet the works are passionate, somehow romantic. The Oscar Wilde Poems were chosen by Pasatieri for their introspective atmosphere. A Rustling of Angels "displays innocence, optimism and simplicity, and perhaps a suggestion of divine inspiration." Six other solo songs, including the popular comic piece I Just Love My Voice, close out the program, performed by a group of singers with whom the composer has long worked. These are all works in which the composer reveals his soul, his inspirations and his love.

Whether it is as a composer, concert pianist or actor, Robert Owens has earned a career and respect that many would envy. He has written extensively for solo voice, with a particular emphasis on texts by great writers. As an African-American, he is quick to emphasize that his songs are not written for any particular race. They are to be sung by all people who appreciate fine song writing. He was born in Denison, Texas, but grew up in Berkeley, California, raised by his mother who taught him piano. Following her death in 1937, he continued his piano and theory studies and, at 15, performed as soloist in the premiere of his Piano Concerto. During this same time he composed his first songs, Images. These offer the poetry of Paul Laurence Dunbar and Waring Cuney. From there Owens went on to compose songs to the poetry of Emily Dickinson, Walt Whitman, Countee Cullen and, most notably, Langston Hughes. Over the following decades, after serving in the armed forces and studying in Europe, he continued to compose with an emphasis on vocal works, reflecting his own life, his exposure to racism, and his desire to express the core truth of the poetry he was setting. Founder of the African-American Art Song Alliance, tenor Darryl Taylor's international itinerary includes performing both in the United States and throughout Europe. He has premiered numerous works. He is much in demand as a lecturer on African-American Art Song, having given recitals and master classes at the Juilliard School, the Manhattan School of Music and at Cambridge College, England.

Described by the New Yorker's Andrew Porter as a composer of "fearless eloquence," Louis Karchin has received performances of his music worldwide, by groups ranging from the Chamber Music Society of Lincoln Center and the Louisville Orchestra, to South Korea's Veritas Musicae and the Delta Ensemble of Amsterdam, Holland. Born in Philadelphia, he went on to advanced studies at the Eastman School and Harvard University, where his teachers included Samuel Adler, Joseph Schwantner, Earl Kim, Fred Lerdahl and Leon Kirchner. As Hayes Biggs writes in his notes to this CD, "Although this disc takes its name from its final selection, Matrix and Dream, the title Matrix is apropos in more than one sense. One of the word's definitions is that of a medium or situation out of which some other entity originates, or in which such an entity is embedded. Louis Karchin's highly personal, supple and elegant musical language, evolved over the course of a distinguished career as composer and performer, is by that definition the matrix within which this music is able to take form, substance and nourishment, and consequently to take flight...many of Karchin's compositional preoccupations, with regard to both genre and gesture, are represented on this recording...all of the new worlds that you can discover on this disc - from the smallest to the largest - emanate from and are contained within Louis Karchin's matrix; they will amply repay return voyages."

This unique disc features the artistry of soprano Judith Kellock in works by composers either American-born (Womack, Moss and Askim), or now an American citizen (Chen Yi) or born and active in Japan (Hosokawa). These works show each composer's fascination with Asian culture, primarily that of China and Japan as well as settings of Vietnamese poetry (Askim's Spring Essence). Judith Kellock has been described in the press as "a singer of rare intelligence and vocal splendor, with a voice of indescribable beauty." A primary influence in her musical life was the late Jan DeGaetani, with whom she studied for many years. Ms. Kellock has been featured with the St. Louis Symphony, the Minnesota Orchestra, the Brooklyn Philharmonic, the New World Symphony and many more. Highly acclaimed for her song recitals and chamber music performances, she is also sought after by composers for her interpretation of contemporary music. Ms. Kellock has also sung major operatic roles in Italy and Greece, toured with the Opera Company of Boston and performed with the Mark Morris Dance Company. She serves on the performing faculty of Cornell University, and is much in demand as a master class teacher.

This recording project began with a concert in October 2000 at SUNY Ulster in Stone Ridge, New York, a community college with a vision. Larry Berk, then director of its library and information services, had recently created an Artist in Residence Program, with the support of the Ulster Foundation, to leaven the practical course offerings typical of most community colleges with a healthy dash of inspiration from working artists. Soprano Danielle Woerner was the resident artist for the fall of 2000, and designed a program for students of varying ages, backgrounds and experience. The residency required one major public presentation, and the concert of October 2000 featured some of her favorite Hudson Valley composers. Some of the music had an extra Hudson Valley flavor: words by Woodstock writers Pearl Bond and Gail Goodwin. Nearly all of the composers took part in the musical preparation and several participated as performers in both concert and on this CD. Since the project began, both Alan Shulman and Robert Starer have passed on, adding some additional poignancy to the presentation. Soprano Danielle Woerner is acclaimed for her performances of concert and operatic repertoire ranging from early Baroque to modern works. While maintaining active professional ties to New York City, she has lived in the mid-Hudson Valley. An alumna of Barnard and Bard Colleges, she counts among her most influential singing mentors Nora Bosler, Martha Gerhart and Bethany Beardslee Winham.

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."

Begun in 2003 with concerts in Massachusetts and the U.S. Virgin Islands, the Shakespeare Concerts has presented recitals of music inspired by the immortal Bard - from original English text settings by many British composers, to settings in translations by Schubert, Brahms, Berlioz, Gounod, Thomas and Verdi, to purely instrumental pieces by Britten, Beethoven, Prokofiev and Korngold. The mainstay of this series has been the music of Joseph Summer, with premieres of two dozen of his sixty-odd Oxford Songs for one or more voices and various ensembles, as well as non-vocal pieces such as the ballet Dance of the Mechanics for string quintet. This disc, Shall I Compare Thee to a Summer's Day, presents works premiered during the third and fourth seasons, including several in collaboration with Boston-based string quartet QX. The previous release in this series is What a Piece of Work is Man (TROY750).

Nicholas Anthony Ascioti was born in Syracuse, and attended the College of St. Rose in Albany, New York where he graduated in Composition and Conducting. Since then, the College has performed his music and sponsored an entire evening of his works. He earned his Master of Fine Arts degree in Composition from Bennington College in Vermont. Among his teachers were Allen Shawn, Dr. Amy Williams and Stephen Siegel. Nicholas received his professional debut at 21 with a commission from David Alan Miller. Judge, Jury and Executioner was premiered by the Dogs of Desire, a chamber ensemble of the Albany Symphony Orchestra. Nicholas is currently a composer-in-residence with the Society for New Music in Syracuse and as a conductor, focuses on 20th century repertoire. The pieces presented here offer a variety of perspectives in both textural and musical form. They reveal our human desire to connect, to relate - to ourselves, to other human beings, to the cosmic reality of being, and ultimately to the Source of our being.

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.”

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.

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."

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.

Will Marion Cook was one of the earliest African-American composers to achieve significant commercial success in musical theater. However, even though his talents were admired at the turn of the twentieth century, he and his work have since been largely forgotten. With the interest in African-American culture sparked by the Civil Rights Movement of the 1960s, and revived interest in all American music during the Bicentennial celebrations of the 1970s, Cook has been rediscovered by such music historians as Thomas L. Riis and Marva Griffin Carter, as well as by such performers as the Black Music Repertory Ensemble of the Center for Black Music Research and, of course, tenor William Brown, who had previously recorded some of Cook's songs on the album Fi-yer! (TROY329). Having studied with Joseph Joachim in Berlin and Antonin Dvorak in New York City, Cook was respected for his pioneering achievements in popular songwriting, Black musical comedies and syncopated orchestral music. His career as a songwriter spanned some 40 years from 1893 to 1934. Cook's memoirs reveal that he believed his ultimate challenge was to right social injustice while at the same time creating beautiful music. Renowned tenor William Brown's repertoire encompassed practically all musical genres. He was a particularly avid performer of American music from all ages and had appeared with major orchestras and ensembles all over the world. Sadly, Mr. Brown died shortly after this recording was made. This CD is a tribute to the memories of both Cook and Brown.

We lost one of the great American composers in June of 2005 when David Diamond passed away. However, we have been fortunate to have heard his Symphonies, chamber works and complete String Quartets (TROY504, 540, 613 and 727) on record over the years, yet this is the first CD devoted entirely to his songs, though he wrote nearly 100 of them. The songs range in emotion from the sweetly lyrical and wistfully elegiac to the humorously satirical and ironic, from plaintive innocence to homespun world-weariness, from mysterious enigma to heart-rending poignancy, from compassion with souls in torment to the need for humans to connect with others even though the connection may be painful, and from deceptive quasi-simplicity to unearthly and nearly orchestral passion and power. All but one are in English and encompass the full poetic gamut of human emotion and experience. Soprano Helene Williams and pianist Leonard Lehrman have collaborated on performances in Amsterdam, Paris, Germany, the United States, as well as song recitals on CD. This, their first Albany release, is a wonderful memorial to an important American composer.

Italian opera was all the rage in German courts at the turn of the 18th century and the young Handel's trip to Italy from 1706 to 1710 allowed him to immerse himself in Italian music. This spurred a remarkable output of cantatas, many written for the meetings of the Arcadian Academy, a group of noblemen and artists who gathered in Rome to further their literary agenda and raise the level of Italian poetry. Though their main interests were in pastoral subjects, these three cantatas dealt with portrayals of tragic heroines, the scorned and betrayed: Agrippina, Lucrezia and Armida, whose stories were drawn from Roman history and myth. No doubt the Academy was impressed with subject matter, which would have been at home in full operatic treatment! Hailed as "outstanding" by the New York Times, soprano Melissa Fogarty's wide range of experience has taken her from the stages of the Metropolitan Opera and New York City Opera to the world of early music. She has appeared in concert with the Seattle Baroque, New York Collegium and Concert Royal. Her unusual experience (in rock bands during her college days) has given her the kind of versatility to branch out into other fields, including the works of Harry Partch and even klezmer music.

Composer-pianist Gary Smart composes, performs, and improvises music that reflects an abiding interest in Americana, world musics and jazz, as well as the western classical tradition. An artist with a wide range of constantly developing interests, Smart has lived and worked in the eastern, midwestern and western USA as well as in Germany, Japan and Indonesia. He has studied with composers Yehudi Wyner, Toru Takemitsu and John Corigliano; worked with jazz composer David Baker and film composer Henry Mancini; and studied piano with Jorge Bolet, Yale scholar-keyboardist Ralph Kirkpatrick and jazz pianist Oscar Peterson. He is a graduate of Indiana University and the Yale School of Music. Dr. Smart is currently Yessin Professor of Music at the University of North Florida in Jacksonville. Smart talks about his relationship to songs. "As a child I learned hundreds of pop songs, the great tunes of Berlin, Kern, Gershwin, Rodgers, Ellington, etc. My sense of melody, harmony, and textural inflection is as much influenced by classic American popular songs as it is by the great European art song tradition, which I love, but which I discovered only after entering college. These genres of course have much in common: primarily, an equitable marriage of words and music....For me, a song doesn't work unless the two become one, inseparable." Set to poems by Elizabeth Barett Browning, Langston Hughes, Hart Crane, William Carlos Williams, Sara Teasdale and Emily Dickinson, as well as a moving letter from a Civil War major to his wife, Smart's song cycles show his commitment to the song as a form of chamber music.

Louis Karchin was born in Philadelphia in 1951. His advanced musical training at Eastman and Harvard University included composition studies with Samuel Adler, Joseph Schwantner, Earl Kim, Fred Lerdahl, Arthur Berger and Leon Kirchner. He is a recipient of the Tanglewood Koussevitsky Award, the Bearns Prize from Columbia University, and awards from the National Endowment for the Arts. This new release exemplifies two complementary trends in Louis Karchin's recent vocal output: an ever-increasing comfort with and mastery of large-scale vocal and dramatic forms, powerfully represented here by Orpheus, and a concomitant reawakening of interest in the more intimate medium of voice and piano, illustrated by a choice and varied selection of his latest songs, which run the gamut from the most simple and restrained in texture and gesture to the most intricate, mercurial and virtuosic. Listeners whose taste in American music (particularly vocal) of a more advanced style will greatly appreciate this new release. If Karchin's style can summed up easily, one could say it exhibits the intensity of Kirchner (such as his vocal/chamber work Lily) combined with the spacious, impressionistic colors found in Schwantner's music.

Jeremy Nicholas writes: "Phrases that chill the heart: 'I want a volunteer from the audience.' 'Is this your car, sir?' 'Have we shown you our holiday snaps?' Or how about "Tonight's lecture is on the art of writing comedy." Go to that seminar and one thing you know for sure in advance is that you are consigning yourself to an evening devoid of any humor. Dissecting comedy, analyzing jokes or, in this case, comic songs, has all the allure of pulling off the wings of a butterfly to see how it flies. Setting off writing a comic song is rather like being your own crossword compiler, designing the grid, filling in all the squares, setting your own clues. No, it's not, really. It's more like taking a pile of kid's building bricks and making a spectacular skyscraper from them. No, that's not it either. But there are elements of both that are pertinent (a good word for seminars)." In other words, comedy (and comic songwriting) is hard work. Think of the last time you told a joke and it didn't come off. The material was right but maybe the delivery was off. But remember the joy when the response was perfect: not only did they laugh, but you sensed the anticipation: this is going to be funny. And for this album, the anticipation certainly pays off. Anyone who grew up in the 1950's and 1960's will recall the wonderful humor of the works of Tom Lehrer, the classic HMV (Angel in this country) LP's of Michael Flanders and Donald Swann. More recently we've seen how Stephen Sondheim and William Bolcom can easily move back and forth between the serious and the humorous. And just to prove that comedy can be serious business, we have the participation of Marc-Andre Hamelin, one of the most highly regarded concert and recital pianists as accompanist and composer, joined by his wife Jody Karin Applebaum. Her resume includes performances of Bach's Christmas Oratorio and St. Matthew Passion, Handel's Messiah, to contemporary works by Stephen Albert, Heitor Villa-Lobos and Gorecki. Together they have performed in New York, Philadelphia, Washington, D.C., Canada, England and the Middle East. Together they have recorded music of Britten, Schoenberg, Bolcom, Wolpe, Weill, Satie and Poulenc. Here both they and you have some fun for a change!

Joseph Summer's preoccupation with the works of Shakespeare began in 1991, when he set the soliloquy "To Be or Not To Be" for tenor and piano. This project kindled a spark that grew rapidly and forcefully, and has burned undiminished to the present day. The tally now stands at over fifty settings contained in six books, known collectively as the Oxford Songs. These range from short arias for solo voice to fully orchestrated cantatas for several singers lasting over half an hour. In June 2000, a twenty-minute setting of the famous balcony scene from Romeo and Juliet was commissioned and premiered at Merkin Hall in New York City. Beyond the Oxfordian realm, Joseph Summer has completed seven operas and numerous orchestral works. In 2003, in collaboration with music director John McGinn, Summer founded The Shakespeare Concerts. To date, this series has presented concerts of Bard settings (by Summer and others) to audiences across Massachusetts, as well as St. Thomas in the Virgin Islands. In its second season, it featured singers from Opera Unlimited of London, England. This CD is drawn from the Oxford Songs and represents the debut album of the Shakespeare Concerts.

Paul Sperry writes: "I've always loved to perform humorous pieces, whether slyly witty or raucously funny. It seemed irresistible to collect these four marvelous pieces together on a CD since they are all by American composers and writers and they all deal with religious topics in, as Woody Allen puts it, 'a somewhat dubious way.'" Classical jazz achieved international recognition in 1925, when Louis Gruenberg's The Daniel Jazz was chosen to represent American music at the Venice Festival of the International Society for contemporary music, where it won overwhelming success. Based on a sermon poem by Vachel Lindsay, this piece was written during a period when Gruenberg was exploring the possibilities of popular jazz as an idiom in classical music. In 1924, he wrote: "It has become my firm conviction that the American composer can only achieve individual expression by developing his own resources...these resources are vital and manifold, for we have at least three rich veins indigenous to America alone: jazz, Negro spirituals and Indian themes." Alla Borzova writes: "Mother Said borrows its title from the book by Hal Sirowitz. His witty and touching poetry is about families and relationships. In Mother Said, I use a variety of musical styles and techniques: rap, Klezmer, Dixieland, a Chinese folk tune and a 12 tone row." The text of Tango was actually compiled by Robert Xavier Rodriguez from news clippings, letters and sermons from the height of the tango craze in 1913-1914. There are three short scenes played without pause and the tenor plays all three roles. Larry Alan Smith writes: "The Scrolls was written for my New York debut concert in 1982, and it was premiered by Paul Sperry. As it was meant to conclude the evening, I looked for something unusual, entertaining and memorable. Woody Allen's tale immediately appealed to me, but only after beginning to compose the work did I realize how challenging it would be to set a humorous text effectively."