Catalog

Born in Chicago in 1931, composer/conductor James Bolle studied at Harvard, Antioch College and Northwestern. He was instrumental in founding numerous musical organizations, the first being The Chicago Youth Orchestra at age 15. He founded the New Hampshire Symphony Orchestra, which he conducted for 29 years and Monadnock Music, which he directed for 42 years. As a composer, his major works include the opera Oleum Canis, five sinfonias, four string quartets, concerti, orchestral works, songs and chamber music. This is the second disc on Albany Records devoted exclusively to him music.

Born in the German spa town of Honnef am Rhein, Boris Papandopulo (1906-91) has emerged as one of the most significant Croatian musicians of the 20th century. Son of the Greek nobleman Konstantin Papandopulo and the famous Croatian opera singer Maja Strozzi-Pecic, he arrived in Zagreb in 1910. He studied conducting in Vienna and composition at the Zagreb Music Academy. He was an extremely prolific composer, with several hundred works in his catalog. His distinctive stylistic pluralism is evident in his solo piano music. His style is marked by its eclecticism and the artful manner in which various music idioms are brought together. This recording, performed by the distinguished pianist Nicholas Phillips, is the first devoted to Papandopulo's music.

The pianist Olga Solovieva writes about the piano music of Boris Tchaikovsky. "If I were to formulate what is most important to me in this music, I would say: sincere, straightforward, and simplicity in expressing ideas, feelings and states of mind that are far from being simple, unambiguous or superficial. A remarkable feature of his works is their saying just what is needed to be said, without any regard for the conventions of music." Once Boris Tchaikovsky was asked about his favorite composer. Having a chance to avoid the question, he nevertheless answered: "If I had to choose, I would choose Mussorgsky." Olga Solovieva graduated from the Russian Academy of Music named after Gnessins (Moscow) in 1998 and took a post-graduate course in the same Academy as an assistant to Professor Leonid Blok in 1998-2000. At the XII International Tchaikovsky Competition in Moscow in 2002, she won a special prize and was awarded a special diploma "The Best Accompanist" (accompaniment to cello). Currently she teaches at the Gnessins Musical College and works at the Moscow Conservatory.

Eric Ewazen has written: "Richard Stoelzel is one of the great trumpet players of our time. His majestic tone, beautiful lyricism and heartfelt musicality is a joy to hear." Richard is equally at home as a soloist, chamber musician and orchestral musician. He began his career as solo cornet with the United States Coast Guard Band. As a soloist, he has toured China extensively. He has been principal trumpet of the New Orleans Symphony and is currently principal trumpet of the Palm Beach Opera Orchestra as well as a member of the Des Moines Metro Opera Association. He is professor of trumpet and head of the brass program at Grand Valley State University.

The distinguished violinist David C. Neely offers a program of two Boston composers who contributed significantly not only to the musical life of Boston, but also to American music. Harry Newton Redman (1869-1958) was hired by George W. Chadwick to teach at the New England Conservatory, which he did until his retirement in 1939. His musical output consists of five string quartets, two violin and piano sonatas, several piano sonatas and songs. He was also known as an avid painter. Clara Kathleen Rogers (1844-1931) studied piano, violin, cello and voice in Germany but could not study composition as no women were allowed in the composition classes at the Leipzig Conservatory. She had a successful career as an opera singer until she retired upon her marriage. She then turned her efforts to composition. Her catalog includes more than 100 songs, two string quartets, piano works, a cello sonata and the sonata for violin and piano heard on this recording. How fortunate that we now have recordings of these works from two American composers of an earlier generation.

The Ibis Camerata consists of four internationally acclaimed musicians of the new generation. Their unique ensemble of violin, cello, clarinet and piano enables them to command a much more varied repertoire than the traditional piano trio. Avid supporters of new music, the Ibis Camerata concentrates on Boston composers for their third recording on Albany Records. All of the composers have a relationship to the New England Conservatory, either as former students or as faculty and administrators.

This unique recording features Mark Morton performing the double bass and piano parts of popular works by Bottesini and Paganini on the first disc, while the second disc contains all the piano accompaniments performed by Mark Morton and is intended as a play-along disc for bassists. Hailed by critics as "a most artistic representative of the new generation developed in the last half century," Mark Morton is on the faculty at Texas Tech University. He has performed in orchestras (principal bass of the Columbus Symphony Orchestra); been featured in recitals and as a concerto performer and was the first-prize winner of the 1990 International Society of Bassists Solo Competition. He is the author of the popular "Dr. Morton" series of double bass technique books. Morton studied at Juilliard, earning his undergraduate and graduate degrees there. He performs on a double bass made by Gennaro Vinaccio of Naples in the last quarter of the 18th century.

This live recording of the Atlanta Music Festival 2016 comprises a unique combination of music, literature, and history, addressing the African American journey from slavery to an as yet unachieved dream of a "more perfect union." Beginning with Atlanta school children singing Lift Every Voice and Sing, the CD proceeds with music and spoken dialogue extolling "liberty and justice for all" through the words of Barack Obama, James Dickey, Robert Kennedy, Lyndon B. Johnson, Martin Luther King, Jr., and Langston Hughes. Of special note are the performances of the beloved Jessye Norman singing songs by Duke Ellington and spirituals. The Atlanta Music Festival has its origins in the Atlanta Colored Music Festival, begun in 1910, four years after the Atlanta race riots, by Rev. Henry Hugh Proctor to promote racial reconciliation through the arts.

One of the major audiophile recordings comes around full circle! Recorded in 1979 at London's Watford Town Hall by the great engineer/producer Brian Culverhouse, this was one of the first digital (Soundstream process, to be exact) LPs on the market. Several years later, Albany reissued it on CD in a more complete version of the score. And now, nearly 30 years (!) later, it's back on SACD, sounding better than ever. This is lovely, tonal, neo-Romantic music lavishly written for the orchestra and vocalists (singing both in English and Hawaiian) in a particularly sympathetic performance conducted by Lee Holdridge whose own fame as a film and concert composer increased in the years since. Jerre Tanner, of French and Cherokee Indian descent, was born in Pennsylvania. His childhood was spent in national wildlife reserve lands where his father was superintendent of fish hatcheries. Tanner currently lives in Hawaii, as did John Thomas (1927-2001), the artist whose paintings inspired this wonderful oratorio. Those paintings are reproduced throughout the booklet, which also contains a complete libretto.

Composer Bradley Ellingboe says that the central premise of StarSong is that the atoms that make up our bodies — and the stars themselves — are immeasurably old. They existed before the combined into the unique form that makes us humans, and all these atoms and molecules and electrons vibrate, just like sound and light. The work is in 12 movements that include an overture and 11 texts set to music. Ellingboe has had a wide-ranging career in the world of singing, including composing, as a soloist, a conductor, scholar, and teacher. He served as the Composer-in-Residence for Albany Pro Music for the 2020-2023 seasons. Albany Pro Musica is the preeminent choral ensemble in New York’s Capital Region, and is know for its exceptional technical competency, artistry, and relevant programming. Conductor José Daniel Flores-Caraballo is the widely acclaimed conductor of Albany Pro Musica. A trained organist and celebrated choral and orchestral conductor, he served as Dean of Academic Affairs at the Conservatory of Music in San Juan. The stunning art on the cover was done by Carlos Flores.

Schubert made an extraordinary contribution to the four-hand repertoire, and his compositions in the form span his entire career. In all, he wrote some 60 works for piano four hands, many of which rank among his most profound and inspired creations as well as his most charming and delightful. It is clear that Schubert did not consider it simply occasional music, but as a serious medium that was perhaps more natural to him than the composition of solo piano music. In fact, Schubert made his first public performance as a pianist in March 1818 performing his own four-hand arrangement of the Italian Overture in D Major on two pianos with Ansel Huttenbrenner. And when he decided to approach Beethoven, whom he worshipped, it was with a four-hand work, the Variations in E Minor, which made a favorable impression. Schubert was also extremely demanding that the pianists he performed with were first rate and once commented that "this damned bashing, which is to be found among even the most renowned pianists, I cannot stand. It delights neither the ear nor the heart." One of Schubert's favorite partners was Josef von Gahy who described his playing: "the sometimes tender, sometimes flowing and bold performances of Schubert, who played the primo part, his strong technique, and free interpretation made the hours of playing together delightful and unforgettable."

This recording demonstrates three aspects of the towering genius of Liszt - the virtuoso, the transcriber, and the visionary. Throughout most of his life, Liszt was essentially a musical transcendentalist and evidence of this can be found in both his pianistic and compositional technique. No one had ever before asked a pianist to perform such technical difficulties that pervade his music. And while the sheer virtuosity of his works create enormous excitement there is also a stunning dramatic and emotional impact created by it. And yet when he chooses to speak in a simple, direct way he is masterful. These same qualities are clearly exhibited in his two-piano and four-hand works that number some 107 compositions and include original pieces, transcriptions, and reworkings of his own music. Indeed, the intrinsic greatness and scope of his work is indisputable.

Johannes Brahms began his musical training as a violinist and cellist, although at his core, he was a pianist. He collaborated closely with violinist Joseph Joachim, and the violin sonatas reflect their association. Violinist Limor Toren-Immerman has won numerous competitions and has appeared as a soloist with orchestras throughout the U.S., Israel, and Russia. She enjoys an international career as a recitalist and chamber musician and has received numerous awards, including the Baroness Leni Fe Bland Award, the H.I.A.S. Award, and the Jascha Heifetz Endowed Violin Scholarship, among many others. Ms. Toren-Immerman began her musical education in Russia at the Gnessin State Music College. She also has degrees from the Jerusalem Rubin Academy of Music and Dance and the University of Southern Calfornia Thornton School of Music. She is on the faculty of the California State University Fresno and was a founding member of Trio Accento. Pianist Hatem Nadim has performed extensively throughout Europe, the Middle East, Korea, and the U.S. He is recognized as one of the leading chamber music pianists of our time. Born in Egypt, he studied at the Cairo Conservatoire and the University of Frankfurt, Germany.

Richard Wilson writes: "The music on this compact disc spans my entire composing career...The three short pieces for piano from my senior year in college reflect an enthusiasm for Boulez, who was teaching at Harvard that year. Quite different in style are the herbal pieces that were intended as teaching material for young piano students but are, without doubt, a bit too complex for that purpose. My propensity for technical challenge is even more evident in the solo works for bass and oboe. Chamber music has always been my preferred milieu."

While the music on this recording is not Scott Joplin, it most certainly does capture the flavor of old time rags. Sydney Hodkinson, the producer for this series of Eastman recordings says: "From roughly the late 1930s through the early sixties, most serious American composers worked within one of two basic musical encampments, continuing and expanding upon traditions established by the 20th century giants Schoenberg and Stravinsky. In striking contrast to this earlier era, today's younger generation of composer benefits from exposure to what has been called a +veritable salad bowl of styles,' marked by an extremely wide range of character, aesthetics and musical cross-currents. The works represented in this Eastman American Music Series of new music recordings bear eloquent testimony to the effect this healthy and diverse musical diet has had on the work of American composers. Various auditory repasts offer composers a choice of forms and influences from such divergent sources as jazz, non-Western music, romanticism, dodecaphony, minimalism, pop and rock, asceticism, cross-over, and spiritualism and all on the same menu! This variety serves both as a high-calorie, vibrant sign of our own creative times, and as a demanding burden placed upon American composers seeking, indeed groping for, their own unique voices: +Red or green peppers? Radish? How much onion? What kind of lettuce? How do I choose my OWN language that will allow me to speak what I need to say?' The works recorded on this disc present the distinct and often unusual offerings of a few leading, contemporary American +workers' in this sonic kitchen." The pianist for this disc, Tony Caramia, is associate professor of piano at the Eastman School of Music, where he is director of piano pedagogy studies and coordinator of the class piano program.

Modern brass chamber music is dominated by quintets and the relative scarcity of trio performances is belied by the number of outstanding compositions for that ensemble, some of which are presented on this recording. Worth noting is the daunting challenge inherent in the ensemble itself Ñ the transparency of the three voices demands that even secondary lines project with identity and color. When performed on a high level, as on this disc, there is a deeply gratifying intensity to the experience, shared by the listener and the performers.

Richard Wernick was born in Boston and studied with teachers such as Irving Fine, Harold Shapero, Arthur Berger, Ernst Toch, Leon Kirchner, Boris Blacher and Aaron Copland. He taught at the State University of New York at Buffalo, the University of Chicago and in 1996 retired from the faculty of the University of Pennsylvania. In 1977, he won the Pulitzer Prize in music for "Visions of Terror and Wonder." His work on this disc was composed for the Chestnut Brass. Leslie Bassett was taught by Ross Lee Finney, Roberto Gerhard, Nadia Boulanger and Arthur Honegger. During World War II, he was a trombonist and arranger with Army bands in the United States, France and Germany. He is the Albert A. Stanley Distinguished University Professor Emeritus of Music at the University of Michigan. He also is a Pulitzer Prize winning composer for his Variations for Orchestra. His Brass Quintet on this disc was composed for the Chestnut Brass. Timothy Greatbatch studied music at the University of Pennsylvania with George Crumb, Richard Wernick and George Rochberg. He has also developed a career as a visual artist and is often commissioned to create murals or elaborate wall paintings for both residential and commercial settings. His music on this disc was also commissioned by the Chestnut Brass. Jan Krzywicki was born in Philadelphia and studied with Vincent Persichetti, Elliot Carter, Nadia Boulanger, and Darius Milhaud. Since 1987, he has been a member of the music theory department at Temple University. "Deploration" was composed for the Chestnut Brass. Eric Stokes studied with Dominick Argento and Paul Fetler, among others. From 1961-1988, he served as a Professor of Music at the University of Minnesota, where he founded the University's electronic music program in 1970 and the new music ensemble. He has composed more than 80 compositions including the music on this disc.

The renowned saxophonist Dale Underwood offers a unique program of music by Brazilian composers for saxophone and orchestra. Currently on the faculty at the Frost School of Music, Underwood has been an active performer and educator for five decades, developing a world-renowned reputation. He has performed all across the United States and many countries around the world. Dubbed "the Heifetz of the alto saxophone" by the Washington Post, he has contributed to the expansion of the saxophone repertoire and establishing the saxophone as a classical instrument and helped raise the performance standard.

The Brazilian String Quartet, affiliated with the Federal University of Rio de Janeiro, has a 48 year history as one of the world's most distinguished ensembles. This CD is devoted to four Brazilian composers of the 20th century. Villa-Lobos needs no introduction. Radames Gnattali settled in Rio di Janeiro permanently in 1931. He became conductor of the city's Radio National Orchestra and became well known because of his arrangements and orchestrations of popular songs. His own serious music was inspired by popular music and was very nationalistic. It contained elements of post romanticism. Jose Vieira Brandao studied piano with the great French pianist Marguerite Long and in 1932 became the assistant to Villa-Lobos as he attempted to reform the music education system of Brazil. For many years he was the President of the Brazil Music Conservatory. Cesar Guerra-Peixe graduated from the Conservatory in 1943 with degrees in piano and composition. His early works were written in the 12-tone idiom which he soon abandoned, adopting a more nationalistic approach which he felt better defined his own musical goals. He did a great deal of research on the subject of Brazilian folk music and taught composition privately for over 30 years.

The wild, exotic music of Heitor Villa-Lobos, the most famous 20th century Brazilian composer, conjures up the impetuous, frenzied spirit of his country. At an early age, he studied folk music and absorbed its heady sounds. Throughout his symphonic works, such as the famous series of Choros and the Bachianas Brasileiros, which fused the Brazilian style with the formal structure of J.S. Bach, he demonstrated a remarkably free nature, never enslaving himself to any trends or "isms." The liberal use of multiple rhythms and harmonies simultaneously in the same work gave his music a wonderfully tangy sound. Though best known for his orchestral music, he did commit himself to that most sophisticated of chamber music forms, the string quartet, producing 17 remarkable works from 1915 to 1957. All three of these works reveal the sheer genius of his technique and the way he was able to use his unique style to "open up" the usually introspective world of the string quartet. These authoritative performances, recorded in the 1960's, are by the Brazilian String Quartet, founded in 1952. Over the years they have performed hundreds of concerts in Brazil, North, Central and South America and in Europe, performing at many important festivals. Known for their championing of Brazilian composers, they have performed and recorded works by Claudio Santoro, Alberto Nepomuceno, Jose Siquera and many others. They have received numerous awards for promoting Brazil, and the Quartet has been hailed as "Ambassadors of Brazilian Music." The President of Brazil has bestowed his nation's highest decoration on the Quartet, the Order of Rio Branco.

The five varied compositions presented on this CD provide a concise portrait of Brian Fennelly's compositional practice. They are arranged to begin with string orchestra, move through combinations with soloists, and end with wind orchestra. Brian Fennelly (b.1937) studied at Yale where he was the first student to earn a degree in the newly created Ph.D. program in music theory. From then until 1997 he was Professor of Music at New York University. His numerous awards include fellowships from the Guggenheim Foundation and the National Endowment for the Arts, commissions from the Koussevitzky and Fromm Foundations and composer residencies at the Rockefeller Foundation Center and a lifetime achievement award from the American Academy of Arts and Letters. His catalog includes works for orchestra, chamber ensembles and solo instruments as well as choral, solo song and electronic titles.

The title of this recording -- Bridges -- implies connections. The bridges invoked on this disc are a series of personal and musical connections between five composers that lead from the 19th century piano virtuoso Chopin to 20th century tango master Piazzolla -- links from mentor to student through five generations: Chopin; Mathias; Williams; Ginastera; Piazzolla. All five composers were immigrants, literally and/or musically, so underlying the repertoire on this disc is the free exchange of ideas that come from travel and immigration. This program has been selected by Rosa Antonelli, a pianist who has championed repertoire from Latin America, particularly from her homeland of Argentina -- often resurrecting little-known jewels. Antonelli, a Steinway Artist since 1998, is one of today's leading performers, who has toured extensively, with more than 1,000 concerts in Europe, Africa, Asia, Latin America, and North America to her credit. Her three previous recordings on Albany Records have received rave reviews from critics.

This recording contains a representative collection of composer Gary Smart's small chamber music works. Strings, winds, percussion, and piano are used in various groupings -- some traditional, some not. Smart's tendncy is to make use of American rhythms and stylistic genstures, but other influences can be heard as well. Quite a diverse set of compositions, but the majority of them center on the clarinet, inspired by the composer's friendship with Guy Yehuda. A unique musician -- composer-pianist Gary Smart writes music that reflects an abiding interest in Americana, world musics and jazz, as well as the Western classical tradition. This is the fifth recording of his music to appear on the Albany Records label.

During one of his recital tours to Edinburgh during the 1860s and 1870s, Anton Rubinstein bluntly told Alexander Mackenzie Sie haben keine Komponisten (You [Britain] have no composers). From his account in his engaging memoir A Musician's Narrative (1927), Mackenzie apparently let the comment pass unanswered. After all, the Russian virtuoso was simply voicing a view widely heard in continental Europe - and even in Britain as well. Many years later, as he surveyed a career that had spanned six decades, Mackenzie noted with "many gleams of satisfaction" the number of important musicians and composers of high merit who had come along. In company with his slightly younger contemporaries, Hubert Parry, Charles Villiers Stanford and Edward Elgar, Mackenzie was himself part of the generation of musicians born in the mid-19th century who first demonstrated that Britain did have composers - and fine ones. Their successors - among them Vaughan Williams, Frank Bridge, Herbert Howells and William Walton - completed the transformation of European opinion. Along with presenting a compilation of signal British contributions to the piano quartet repertoire, this set offers a sample of the music of some of the very composers who helped deliver British music from its lowly state as a source of jests to a place of international recognition and esteem.

Any serious collector of wind ensemble music will be excited by this disc that offers the opportunity to hear a set of works that are probably unfamiliar to most of you; no Lincolnshire Posey this time! It's hard to believe that the modern wind ensemble of the kind that commissions and performs contemporary works has been around for barely sixty years. The tradition was started with the famed Eastman Wind Ensemble and now every major Conservatory and University probably has a performing group. Here's another: primarily made up of freshman and sophomores, New England Conservatory's Jordan Winds performs woodwind, brass and percussion repertoire from the Renaissance to the present day for octet to full wind ensemble. World premieres and important works that are sometimes neglected because of unusual instrumentation form an integral part of the group's Jordan Hall concerts. Under William Drury, the ensemble has given compelling performances of sophisticated contemporary music including Varese, Messiaen, Sapieyevski, Foss, Druckman, Burke, Schoenberg and Frank Zappa. Albany Records has made an ongoing commitment to this kind of music and we feel that this release is a major contribution to the wind discography!

All the music on this disc was originally created, performed and recorded for "Dogs of Desire," the new music ensemble of the Albany Symphony Orchestra. Richard Adams, Arthur Bloom, Evan Chambers and John Fitz Rogers are all young composers at the beginning of their careers. Give them a listen! See if you enjoy what they are doing. Kamran Ince is a composer who has been long associated with the Albany Symphony. There is a disc of his symphonic works and piano concerto that has been out on Argo for quite some time, not to mention the disc of his Chamber music that is available on Albany. All compositions on this disc were recorded in the wonderful Troy Savings Bank Music Hall and after they were performed before subscription audiences. This means they are beautifully played by the orchestra.

Craig Walsh, born in New Jersey in 1971, is a composer on the rise, widely performed across North America and Europe. He is also a composer plugged into new media while simultaneously writing music for traditional acoustic instruments. He is associate professor at the University of Arizona and has received numerous awards and fellowships. The works on this recording represent more than a decade of Walsh's acoustic chamber music. This is bold, compelling music with a distinctive voice that draws the listener in. Walsh has a knack for instrumental combinations that pack a great deal of information into textures that are spare yet timbrally rich. His music is well conceived while pushing the boundaries of performance techniques.

Frank Lewin was born in Breslau, Germany, but came to the United States in 1940. He studied composition with among others Hans David and Roy Harris before attending Yale University where his teachers were Richard Donovan and Paul Hindemith. The composer himself was on the faculty of the Yale School of Music from 1971 to 1992, teaching composition for film. During this period he also taught the course Music in Modern Media at the Columbia University School of the Arts. He has been active as an editor and engineer of recorded music. In October 1950, Frank Lewin - then a composition student at Yale - saw John Steinbeck's play Burning Bright in New Haven's Schubert Theater. The play was on its way to Broadway, where it found little favor. Lewin, however, was deeply impressed by the story. It seemed ideally suited for an opera. He never forgot Burning Bright. In 1967, he took out an option to turn the play into an opera. During the next ten years, Lewin did research for the opera and worked on a libretto. In 1977, he began composing the music; he completed the score in January 1989. The opera had its premiere in Woolsey Hall in November, 1993 and was warmly received by audiences and critics alike. In July 2000, the Opera Festival of New Jersey presented two performances in Princeton's McCarter Theater. Once again this wonderful opera was well received.

Influenced by music he heard in the synagogue as a young child, composer Burton Beerman had never infused any of this influence into his compositions until he met Philip Markowicz, a living Holocaust survivor and Torah scholar. The fruit of this association is Tikvah, a chamber oratorio that sets Markowicz's life and philosophy as well as his Torah insights to music. Tikvah is the Hebrew word for hope and hope was key to Mr. Markowicz's survival. Performed by his granddaughter, Cantor Andrea Markowicz with the Red Clay Saxophone Quartet and the Uzee Brown Society of Choraliers, with Philip Markowicz as narrator, Tikvah is a powerful, emotional and timely work, touching on the big issues of life, love, death, survival, meaning, existence, faith, morality, happiness, and tragedy.

David Gompper is Professor of Composition and Director of the Center for New Music at the University of Iowa. Butterfly Dance represents a response to and a re-imagining of a native-American Hopi Indian tune of the same name. Noel Zahler is director of the School of Music at the University of Minnesota. In his Trio, Zahler draws upon a conventional ensemble in order to create a composition with an intense drive, and possessing a full and varied sound palette. Marilyn Shrude is a faculty member at Bowling Green State University where she chairs the Department of Musicology/Composition/Theory. Secrets is a setting of nine Emily Dickinson poems, each of which are associated with one or more of the seasons of the year. Joseph Dangerfield is Assistant Professor of Music Composition and Theory at Coe College in Cedar Rapids, Iowa. The Waves Roll On...is drawn from the Russian lyric poet Fedor Tyutchev (1803-73), whose vivid imagery served as the impetus from which Dangerfield crafted his melodic, rhythmic and formal structures. Finally there is a major chamber work, Vox Balaenae, by one of America's most important composers, George Crumb. Founded in 1993, the Studio for New Music is one of the leading contemporary music groups in Russia. As a project initiated by Joseph Dangerfield, this CD showcases not only the varied styles of these American composers but highlights the universal nature of contemporary music.

The extraordinary tuba player Timothy Buzbee has put together a unique program of music by American and Swedish composers that reflects his eclectic interests and passions. His phenomenal technique and command of the instrument have won him principal tuba positions with a number of orchestras and he has recorded more than 20 CDs. A native of Texas, he has been a featured soloist with the Singapore Symphony, Acapulco Philharmonic and other orchestras and has performed throughout North American and Asia with several different brass quintets and brass ensemble.

American composer Byron O'Keefe's second recording for Albany Records is a disc of his music for piano. The composer says that "These pieces, with one exception, were composed over a ten year period between 2009 and 2019. While they obviously show the influence of Schubert, Chopin, Schumann, and other composers of that era, I would hope that a certain quality peers through them so that the listener, whether hearing them with 19th century ears, or through more modern sensibilities, would tend to want to say something along the lines of ‘that sounds American'." The pianist is Kateryna Ulezko, a 2007 graduate of the Tchaikovsky National Academy in Kiev.