Catalog

Clarinetist Elizabeth Crawford is professor of music at Ball State University. She holds degrees from Furman University, the University of Michigan School of Music and Florida State University College of Music. She was a long-time member of the Jacksonville Symphony Orchestra and has performed and recorded with major orchestras in the United Kingdom. An avid proponent of music for E-flat clarinet, Crawford has commissioned composers including three on this recording (Lori Ardovino, Jenni Brandon, and Scott McAllister) and transcribed compositions for the instrument. Crawford has performed and taught at festivals and universities throughout the world including Poland, New Zealand, Italy, Spain, and South Africa.

Established in 1972 as a resident faculty ensemble at Tennessee Technological University, the Cumberland Wind Quintet has built a solid reputation for unique programming and fine musicianship. The group has toured throughout the United States and in Europe, performing to a wide variety of audiences. Commanding a large repertoire of music from all periods, the Quintet offers the standards and classics, exciting modern works, and lighter popular music. The Quintet has also performed as guest artists at conferences for the College Music Society, Tennessee Music Educators Association and the Midwest International Band and Orchestra Clinic. This CD demonstrates perfectly their range, with delightful arrangements of film themes and vocal and keyboard music by such composers as Ravel and Mahler, and in between highly entertaining original compositions by Ewazen, Uhl, Berger and Danner.

This CD celebrates both the 1966 founding of the Center for New Music at the University of Iowa, and the many accomplishments made over four decades. The composers have all been affiliated with the School of Music in one capacity or another, and each presents a unique voice to this collection. This is now the oldest and most successful among such collegiate ventures in the United States.

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

The Pan Pacific Ensemble, a woodwind quintet based in the State of Washington, has a history of commissioning and performing contemporary music. This second recording of the ensemble includes works by American Nick Omiccioli; Chinese-American Chen Yi; Indian-American composer Asha Srinivasan; Thai composers Chaipruck Mekara and Siraseth Pantura-Umporn; Chinese composer Zhong Jun Cheng; and Vietnamese-American composer P.Q. Phan. The Pan Pacific Ensemble has appeared at the 2016 China-ASEAN Contemporary Music Festival and the 2017 Thailand Iternational Composition Festival in Bangkok in addition to their active concert schedule in the United States.

Born in Stockholm, Sweden, of American parents, Davidson spent her first three years living in the town of Malmo on the Baltic Sea. She later lived in Istanbul, Turkey, and, as a teenager, in Wurzburg, Germany and Tel Aviv, Israel, finally settling down in Oneonta, New York. Her mother, a professor of English literature, recognized her musical talents and started her on piano at an early age. She studied later at the Wurzburg Conservatory and Tel Aviv University. In the early 1970s, she went to Bennington College, Vermont, where she studied with Henry Brant and Vivian Fine. Over the years Davidson's music has been commissioned and performed by the Philadelphia Orchestra, the American Composers Orchestra, Relache Ensemble and Orchestra 2001, among many other ensembles. She has created works of integrity and fascination, honing an individual and expressive style. She has an ear for vivid harmonies and colors. Full of tender, haunting melodies that grow expansively, generously and graciously, her music is real, harmonic and sophisticated. Here are three works performed by the renowned Cassatt Quartet, now celebrating its 20th anniversary. In Paper, Glass, String and Wood, all twelve parts are played, through over-dubbing, by the Quartet, revealing its famed virtuosity and commitment to challenging, original new music.

Composer/performer Kurt Rohde is artistic advisor with the Left Coast Chamber Ensemble and the Composers Conference, as well as a curator at the Center for New Music. A professor at University of California-Davis, Rohde received the Rome and Berlin Prizes as well as awards from the American Academy of Arts and Letters, and the Barlow, Fromm, Hanson, and Koussevitzky Foundations. The sequence of poems Rohde chose for the first work on the recording (It wasn't a dream ) are by Diane Seuss and is written for soprano (Charlotte Mundy), tenor (Andrew Fuchs), and piano four hands (Michael Brofman and Miori Sugiyama). The second work, Treatises for an Unrecovered Past is for string quartet and was inspired by music treatises and is performed by the Lydian Quartet.

In her program notes for this delightful new album the flutist Sue Ann Kahn writes: "One of the flutist's most precious legacies is the treasury of short pieces by Jacques Ibert. Gems from Ibert's most fertile years, these works charm, touch and amuse player and listener alike. As a young flutist, I made the acquaintance of Divertissment and the Wind Quinette, Trois Pieces Breve, savoring particularly the mischief in the first piece and the lightheartedness of the second. I devoured recordings of the Concerto and of Entr'acte by the great flutist Julius Baker, and I sensed a true affinity between Ibert's exotic but playful style and the sensuous color, melodic tenderness, and sparkle idiomatic to my chosen instrument. After several decades of performing Steles Orientees, Piece, Entr'acte, and Jeux, I found myself as enamored of Ibert's music as ever and, spurred by the hundredth anniversary of his birth, decided to gather his flute chamber works onto one disc. Jacques Around the Clock presents pieces as different as noon and night, from the whirlwind Entr'acte to the quiescent Aria. Unmistakably Spanish in flavor, the popular Entr'acte, inspired by Segovia's playing, begins the disc in its original flute and guitar scoring and returns at the end in the version for flute and harp."

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

Jan Krzywicki (b. 1948) is active as a composer, conductor and educator. He has been comÂmissioned by prestigious performers, and organizations such as the Philadelphia Chamber Music Society, the Mendelssohn Club of Philadelphia, the Chestnut Brass Company, and performed across the United States by ensembles such as the Colorado Quartet, the Network for New Music, the Pennsylvania Ballet, the Portland Symphony Orchestra, Alea III, and others. He is the recipient of a Pew Fellowship in the Arts, a Rockefeller Foundation residency (Bellagio, Italy), a Bogliasco Foundation residency (Bogliasco, Italy), ASCAP and Meet the Composer awards, and has been a Fellow at the MacDowell, Yaddo, Millay, and Virginia Center for the Creative Arts artist colonies. As a conductor he has led chamber and orchestral groups in literature from the middle ages to the present, including a large number of premieres. Since 1990 he has been conductor of the contemporary ensemble Network for New Music. Krzywicki is a professor of music theory at Temple University. All the compositions on this recording were composed in 2000 or later and complement his first disc of chamber works on Albany Records (TROY337).

Called a "composer to watch" by Opera News, Elena Ruehr's music has been performed by the Borremeo String Quartet, the Shanghai String Quartet, the Boston Modern Orchestra Project (where she was composer in residence from 2000-2005), and the Cincinnati Symphony, among others. Dr. Ruehr was a fellow at the Radcliffe Institute in 2009 and she teaches in the music department at MIT.

Jay Reise composes in all genres, and his teachers included musicians with a wide variety of stylistic approaches: George Crumb, jazz player Jimmy Guiffre, Carnatic (South Indian) violinist Adrian L'Armand, and Richard Wernick. As critic Peter Rabinowitz has written, "His work is firmly in the Western tradition. But because of the fresh perspectives offered by his study of Indian music, he has been able to rethink some specific problems facing contemporary Western art music..." Many disparate elements of classical musical technique are employed in the three works on this recording, including rhythms based on concepts freely derived from the study of Carnatic music and the juxtaposing of chromatically-treated modes (folk-derived and symmetrical) with quasi-functional tonal music.

Compositional clarity of purpose amid a counterpoint of ideas and materials brings together this generous collection of Jeffrey Mumford's music, all of which are heard in thoughtful and sensitive performances. A native of Washington, D.C., composer Jeffrey Mumford has received numerous fellowships, grants, awards and commissions including the Academy Award in Music from the American Academy of Arts & Letters. Formerly on the faculty at Oberlin College, he is now Distinguished Professor of Music at Lorain County Community College. Mumford was in residence at the National Gallery of Art in 2013 and some of the works on this 2-CD recording come out of this residency.

Three world premiere recordings highlight this disc of chamber music by the distinguished American composer Jennifer Higdon. Ms. Higdon served as Eminent Artist-in-Residence at the University of Wyoming and this composer-supervised recording was the culmination of her activities there. Ms. Higdon comments that when composing "I often picture colors as if I were spreading them on a canvas, except I do so with melodies, harmonies, and through the instruments themselves." All of the performers serve on the music department faculty at the University of Wyoming.

The works presented on this compact disc exhibit three manners in which Jeremy Gill has explored the musical past. 25, through its use of quotation and occasional imitation, represents the most common of the three. Suite for Brass deals with musical and poetic forms that were precursors to the music of Bach. Parabasis is an exploration of an imagined musical past, based solely on contextless titles and fragmentary descriptions. A graduate of Eastman and the University of Pennsylvania, Gill worked with George Crumb, George Rochberg, Joseph Schwantner, Christopher Rouse, Donald Erb and Samuel Adler. He is also active as a conductor and keyboardist.

Joel Hoffman was born in Canada and received degrees from the University of Wales and the Juilliard School. Among his distinguished teachers were Elliott Carter, Milton Babbitt, Alun Hoddinott and Easley Blackwood. Currently, Hoffman is Professor of Composition at the University of Cincinnati's College-Conservatory of Music. His music has been commissioned and performed by the Cincinnati Symphony, the National Chamber Orchestra, the American Harp Society and the Atheneum Quartet of the Berlin Philharmonic. His compositions draw from such diverse stylistic sources as Eastern European folk music and bebop jazz. There are two qualities that are common to all of his works: a focus on melody and a pervasive rhythmic vitality. The three Piano Trios represent, in his words, "...a kind of central musical point for me, in that the medium incorporates three instruments with which I have the greatest and most intimate connection possible: my mother was a superb violinist, the cello is the instrument of my cellist-brother Gary and the piano is my instrument. So composing for this medium, for me, is about as natural an activity as composing gets. I find that my essential musical questions about sound, structure, harmony, melody and meaning in general are the ones I continually address when writing for the piano trio."

Noted performers Peter Winograd and David Westfall perform the three violin sonatas by Brahms. Winograd, a member of the American String Quartet, made his debut at age 11. As a young violinist, he was a top prize winner in the 1988 Naumburg International Violin Competition. Since then he has performed as a guest soloists with orchestras around the United States and as a recitalist. He has been a member of the faculty at the Manhattan School of Music and the Aspen Music School. His violin is by Giovanni Maria del Bussetto (Cremona, 1675). Pianist David Westfall maintains an active career as concert pianist, collaborative artist, and teacher. He has concertized and given master classes throughout the United States as well as in Canada, Europe, and the Far East. A graduate of Indiana University, Texas Christian University, Juilliard, and The Hartt School where he received his Doctorate in Musical Arts, Westfall taught for more than 30 years at The Hartt School of Music and founded the South Church Chamber Music Society in Connecticut.

The three pieces on this compact disc are the results of a collaborative effort between composer John Allemeier and dancer/choreographer E.E. Balcos, who together created an evening-length, dance-theater work based on three murder ballads — folksongs that describe homicides and their aftermaths. As both artists live and work in North Carolina, they fittingly focused their collaboration on murder ballads from that state. Poor Ellen is based on a balled that recounts the 1892 shooting of Ellen Smith by her lover, while Pieces of Silver was inspired by a murder ballad about Frankie Silver who killed her husband with an ax. Deep Water (Omie Wise) tells the story of how Jon Lewis drowned Omie Wise in 1807. Described as "rapturous" by American Record Guide, John Allemeier's music has been programmed at festivals around the world, including Europe, Russia, South Korea, and Brazil as well as in the U.S. A graduate of the University of Iowa, Allemeier also studied at Northwestern University and Augustana College with additional work in Germany and the Czech Republic. He teaches music theory and composition at the University of North Carolina at Charlotte.

Composer John Aylward has been awarded a Goddard Lieberson Fellowship from the American Academy of Arts and Letters, a Fulbright Grant and First Prize from the International Society for Contemporary Music, among many other honors. His music has been praised for its rhythmic vitality, rigorous formal qualities and its lyricism and is performed in the US and abroad. He is on the faculty at Clark University and is the founder of the East Coast Contemporary Ensemble and the Etchings Festival. This recording offers some of his best chamber works including a song cycle based on the poetry of Louise Gluck, a piece for violin and cello and a large chamber ensemble work titled Stillness and Change.

Joseph Summer is familiar to audiences both as a composer and as the founder/director of The Shakespeare Concerts. Summer's oeuvre includes eight operas, chamber opera, cantatas, more than 100 vocal works, string quartets and many works for chamber ensembles. He studied at Oberlin and Carnegie Mellon University. This is the sixth recording of his music for Albany Records. The Ulysses Quartet was founded in 2015 and won a gold medal at the 2016 Fischoff National Chamber Music Competition and first prize in the 2018 Schoenfeld International String Competition. They have performed around the world to critical acclaim and advocate for music by underrepresented composers.

This string quartet by noted American composer Joseph Summer is a musical interpretation of the named stories of the preeminent 20th century fabulist, Jorge Luis Borges. Born in 1956, Joseph Summer studied at Oberlin and was on the faculty at Carnegie-Mellon. Summer has written four comic operas based on the stories of The Decameron. These operas are part of a planned seven opera cycle, which follows the exploits of a half dozen characters over the course of a week in an imagined 14th century Naples. Founder of The Shakespeare Concerts, Summer's music inspired by Shakespeare appears on three previously released recordings on Albany Records.

Justin Hellman came back to composing classical music on his 41st birthday. He started his involvement in music as a teenager by performing electric bass and writing songs. From there he moved to studying the acoustic bass and began focusing more on jazz. His jazz quartet performed regularly in the Bay Area and one of his compositions was featured on an episode of The Good Wife. He went back to school to pursue a medical degree, training in oculoplastic surgery. Garden of the Gods is Hellman’s first classical album. The Friction Quartet is known for its commissioning of new works, curating imaginative programs, collaborating with artists, and presenting interactive educational outreach. Since their formation in 2011, Friction has given world premiere performances of more than 80 works. Their performances appear on National Sawdust Tracks, Innova, Albany, and Pinna Records.

Kamran Ince is rapidly emerging as one of today's most exciting and original young composers. He was born in Montana to American and Turkish parents. His early musical training was in Turkey at the Ankara and Izmir conservatories. Later he attended the Oberlin Conservatory and the Eastman School of Music, where he earned a Doctorate. Among his teachers were Christopher Rouse and Joseph Schwantner. He is currently a member of the music faculty at the University of Memphis. About Fantasie of a Sudden Turtle the composer writes: "First of all the title has nothing to do with ninja turtles. The contradiction between sudden and turtle is a reflection of my love for contrast and also represents this particular turtle's desire to do a lot of things it cannot. The work consists of a sequence of fantasies, dreams that a turtle might have." About Kac! (Escape from "A") Ince writes: "Kac has the meaning in Turkish of How many? or Escape. The work contains extreme contrasts with sections ranging from complete stasis to raw, savage activity." And finally about Kocekce Ince writes: "Kocekce is the name of a folk dance found in the Black Sea region of Turkey. The music is always very fast with constant irregular meters. It is usually played by the Kemence, a string instrument similar in size to a small violin."

Composer Kamran Ince's father was Turkish and his mother is American. He grew up partly in each country and now splits time between Memphis, Tennessee where he is on the faculty at the University of Memphis and Istanbul, where he teaches at Istanbul Technical University. Ince is first and foremost a composer in the Western classical tradition, but he is not bound by that tradition. He is also well versed in Ottoman classical music and grounded in Turkish culture. In ways sometimes explicit and sometimes subtle, his music reflects that dual heritage. The many musicians Ince gathered to record the varied chamber pieces on this recording have in common not only the big technique his music requires, but also the wildness and intensity it demands. They are Ince's triumphant champions, and he is their inspiration.

Esteemed composer Bernard Hoffer's eighth recording for Albany Records features three works for piano — one with string; another with French horn and violin; and the third with two trumpets. Hoffer is known not only for his chamber and orchestral music but also for music written for films, television, and commercials. He scored the hit children's cartoon series Thundercats and the theme for the PBS News Hour. Winner of the First Prize at the New York International Artists Association Piano Competition and the Silver Award at the Paris International Competition, pianist Kayoung An made her Carnegie Hall debut in 2013. She has performed with orchestras both in the United States and abroad. On the faculty at the Manhattan School of Music, Ms. An studied at the Manhattan School of Music, New England Conservatory, Colburn Conservatory, and the Cleveland Institute of Music. Her collaborators include conductor David Gilbert, violinist Kurt Nikkanen, horn player Dan Wions, and Gil Hoffer and Christian Hinkle, trumpets.

With the exception of far sight sun light, the compositions on this recording of music by Ketty Nez take their inspiration from East European folk sources, including an Anatolian Turkish folk song and Bartok's transcriptions of Rumanian folk tunes. Ketty Nez is on the faculty at the Boston University School of Music and was a guest teacher at the Liszt Academy in Budapest and has had residencies at the Ecole Nationale de Musique in Montbeliard, at CCRMA, and at the Institute de Recherche et Coordination Acoustique/Musique. Her music has been performed in Europe, North America, and Asia. She is a graduate of the University of California at Berkeley, the Eastman School of Music, the Curtis Institute of Music, and Bryn Mawr College.

Composer/pianist Ketty Nez joined the composition and theory department at the Boston University School of Music in the fall of 2005. Ms. Nez completed a residence of several months at the École Nationale de Musique in Montbéliard, France, prior to the premiere of her chamber opera An Opera in Devolution: Drama in 540 Seconds, at the 2003 Seventh Festival Avantgarde in Munich. She comments: "The five recent chamber works on this recording, Postcards from the 1930's, timed curves, between, before, and wind down ii, were written for myself to play, and were composed after moving to Boston in 2005 to start teaching at Boston University while the most recent work on this recording, and marking a departure of sorts, Postcards from the 1930's was the byproduct of my everlasting curiosity for the sounds and rhythms of my own ethnic backgrounds, a mixture of Slovenian and Slavic Macedonian.

Tim Page tells Kevin Oldham's tragic story in the notes for this disc. "When I look back upon the mid-eighties and my apprentice years as music critic for The New York Times, it sometimes seems that I did only two things: cover debut concerts and write AIDS obituaries - alpha and omega, the beginning and the end, over and over again...Kevin Oldham was one of my debuts  a handsome, vibrant, self-assured and splendidly virtuosic young pianist who played his first New York recital at Carnegie Recital Hall in 1985. Eight years later, he too would die from AIDS and I would write his obituary. But by then, he had become a composer, one who had fought a desperate battle to leave the world some fresh and lovely music...He died on March 11, 1993. In the case of Kevin Oldham, AIDS ended the life of a gifted composer who was just getting started. We'll never know what he might have created. We regret the music that will never be, and we mourn for Kevin  a brave, funny, smart, articulate and compassionate man. But, through Kevin's own Herculean efforts, something has been saved. You hold the proof in your hands."f

Eric Moe, composer of what the New York Times calls "music of winning exuberance," was educated at the University of California at Berkeley and at Princeton University. He is currently Professor of Composition and Theory at the University of Pittsburgh, where he directs the graduate program in composition and the department's electro acoustic music studio. As a pianist and keyboard player, Moe has performed works by hundreds of composers from Anthony Davis to Stefan Wolpe. A founding member of the San Francisco based EARPLAY ensemble, he currently co-directs the Music on the Edge new music concert series in Pittsburgh.

Leo Kraft is active as a composer, educator, and author. After receiving degrees from Queens College and Princeton University, he joined the faculty of Queens College in 1947, and retired in 1989. While the bulk of his work consists of chamber music, he has written orchestral, piano and vocal music as well. The composer writes: "About the Six Pieces for Violin and Piano Obbligato, as the title implies, these pieces feature the violin, while the role of the piano is more than an accompaniment, but less than an equal partner, hence the term obbligato. Imagining the violin as a great actor capable of portraying many roles, I found a different kind of expression in each piece. Line Drawings was written for Paul Dunkel, who gave the first performance with Richard Fitz in 1972. The linear nature of the music suggested the title. Paul Maynard was an outstanding performer and scholar in Renaissance and Baroque music. He was a major presence on the faculty of the Aaron Copland School of Music, and it is to his memory that The Garden of Memory for harpsichord (on which he performed so marvelously) is dedicated. The poetry of e.e. cummings has delighted me since my student days, but only recently did I feel that I had the means to do justice to some of my favorite poems. I heard a tenor voice and a small group of instruments. My aim was to get beneath the surface of the elegant lines to the deeper meaning below. My second chamber symphony is indeed a symphony in the classical sense, which is to say that the work is highly developmental, spacious in gesture, and ambitious in scope."

Preeminent in the American musical landscape not only as an artist but also as an administrator, Francis Thorne was born in Bay Shore, New York in 1922. A self-taught jazz pianist, he had hoped for a professional career in music but was deterred by active naval duty in World War II, a young family to support and a dismissive appraisal at Yale by the redoubtable Paul Hindemith. So for several years he worked on Wall Street, like his stockbroker father, and kept music essentially a hobby until a serendipitous recommendation from Duke Ellington led to a number of prestigious jazz engagements. With this rekindling of his musical ambitions, he ultimately traveled to Florence, Italy, studying under the American composer David Diamond, and remained there with his family until 1964. Thorne has served as executive director of the American Composers Alliance and helped organize the American Composers Orchestra and served for many years as its president. His many compositions  ranging from symphonies to solo pieces  reveal a love of tonality-based chromaticism, uniting the European musical heritage with the jazz tradition native to America.

For all the differences among them, Joaquín Turina, Alexandre Tansman, and Carlos Surinach were alike in one regard: each was sympathetic to making his music an affirmation of his cultural heritage. At the same time, their lives spanned a period when modernism was sweeping away the romantic tenets that had upheld 19th-century nationalism. Hence, each came to fashion a distinctive amalgam of nationalist tendencies and newly emergent techniques and modes of thought. Given beautiful performances by the Ames Piano Quartet, the recording ends with a work by Astor Piazzolla that was written as part of the incidental music for a play by Alberto Rodriguez Muñoz.