• Catalog #: TROY1608

    Release Date: December 1, 2015
    Vocal

    Composer John Harbison's history as a jazz player divides into two widely distant segments: the first, as founder-leader of Harbison's Heptet (1952-63); the second in the present century as founder-member of the Token Creek Jazz Ensemble and coach for VocalJazz MIT. As he comments in the introduction to this recording, "The songs were never aimed at a specialized audience they had mainstream intentions, to catch ears and hearts, and occasionally to follow some restless habit of curiosity. They are fully inhabited by the performers here in ways I scarcely imagined, which is as it should be Are we hearing jazz, or some strange prolongation of the American Songbook ideal, or perhaps even new song forms?" Described by the New York Times as "a soprano of extraordinary agility and concentration," Mary Mackenzie has captured the attention of audiences throughout the United States. A passionate performer of contemporary vocal music, Ms. Mackenzie has collaborated with several leading composers, including Pierre Boulez, John Harbison, and Richard Danielpour, among others. When she was asked by the composer to perform some "new songs," she wasn't expecting to receive hand written sheet music with a cover page listing "Pop Songs." She discovered exquisite tunes that were not unlike the jazz standards of her grandparents' generation. This recording fulfills a long-time dream of sharing the ensemble's interpretations with the world.

  • Catalog #: TROY1779-80

    Release Date: September 1, 2019
    Vocal

    of death and the planets is a large song cycle by composer Jim Lahti, setting a poetry collection of the same name by John McEveety Woodruff. The work is, essentially, a 15-movement journey and over the course of approximately an hour and a half the listener will be transported through the solar system with occasional stops along the way for five departed souls with personal connections to Mr. Woodruff. Both the poems and the music are at times dramatic, poignant, sad, loving — and periodically whimsical. Passionate about music, di.vi.sion is an exciting group that seeks to move audiences. Formed in 1997 by violinist Kurt Briggs, the name is inspired by the group's flexibility to divide forces as needed and by their predisposition to commission new works using the musical form of division. Composer Jim Lahti's music has been heard in concerts in San Francisco, Los Angeles, New York, London, and France as well as on radio stations in the U.S. and Canada. He is the 2018 recipient of the BRIO Award for excellence in music composition from the Bronx Council on the Arts. English-German tenor Rufus Müller has an active career performing for oratorio and opera and has worked with many of the world's leading conductor. Soprano Timothy Maureen Cole is a graduate of Westminster Choir College and Ithaca College. She has extensive performance experience in classical as well as musical theater repertoire.

  • Catalog #: TROY1262

    Release Date: June 1, 2011
    Vocal

    The two works on this recording are concerned with time-cycles: Book of Hours with the ordering of days, Helian with the changing of seasons. Book of Hours uses the medieval Book of Hours, a devotional book containing prayers and psalms, for its structure while Helian is a setting of a poem by Georg Trakl and is concerned with years, not days. Active as a composer, conductor and pianist, Jeremy Gill studied at the Eastman School of Music and at the University of Pennsylvania. He has received awards from BMI, ASCAP, Meet the Composer and the American Symphony Orchestra League. He is Music Director of the Delaware County Symphony. This is the second release on Albany Records devoted to his music.

  • Catalog #: TROY0722

    Release Date: December 1, 2004
    Vocal

    Julianne Baird writes: "Music and the social status it expressed was an integral part of Jane Austen's life. Her novels are replete with details of domestic musical activities. Accounts of public concerts and private balls as well as music programs with hired musicians fill her letters. A dedicated amateur herself, Austen ordinarily played at the pianoforte at least an hour a day before breakfast from the 8-book music collection now preserved in her home at Chawton. For nieces and nephews she practiced 'country dances,' a number of which appear in her collections. Austen painstakingly copied and bound music that especially interested her. Two books are in her own hand - one of piano pieces and the other (Book III), of vocal music, recorded here in its entirety. Some pieces contain her own suggestions for ornamentation. Prominent themes are naval affairs, country life, drinking songs, love, Turkish and Moorish motifs, female character pieces, and the French Revolution. The novels of Jane Austen reveal her as a keen observer of early 19th century English society. Now, through her Songbook, she herself springs to life: her special likes and dislikes, her boisterous sense of humor, her passions, the way she amused herself and what she was like relaxing with her family and friends." This is a very special album indeed.

  • Catalog #: TROY1113

    Release Date: April 1, 2009
    Vocal

    The performers, Mary Nessinger, mezzo-soprano and Jeanne Golan, piano asked ten American composers from a variety of backgrounds to write songs in response to the ten individual songs that make up two visionary cycles from the cusp of the last century, Claude Debussy's Trois Chansons de Bilitis and Alban Berg's Sieben Frühe Lieder. The juxtapositions between the commissioned songs range from natural progressions to shocks of contrast in a way that the performers had not imagined, but that honor the pacing of the original cycles to an uncanny extent.

  • Catalog #: TROY1432

    Release Date: August 1, 2013
    Vocal

    This compact disc shares art songs of four living American women composers never previously recorded by mezzo-soprano. With these particular songs, Juliana Hall, Lori Laitman, Judith Cloud, and Libby Larsen have chosen poetic settings that reflect women's personalities, tastes, and life experiences from the 1920s to the present time. Sung by mezzo-soprano Katherine Eberle, the experience of hearing this music created by women composers offers understanding, meaning, enjoyment and enrichment for the listener. Eberle, a member of the faculty at the University of Iowa has presented more than 100 solo recitals in her 25-year career. Performing around the United States, Canada, the U.K. and Russia, Eberle specializes in oratorio, chamber music, art song and opera. Her colleague, pianist Ksenia Nosikova, also on the faculty at the University of Iowa is a graduate of Moscow Tchaikovsky Conservatory and the University of Colorado. A Steinway Artist, Nosikova has performed and taught in China, Italy and Hong Kong as well as on guest artist series at more than 80 American universities.

  • Catalog #: TROY1775

    Release Date: May 1, 2019
    Vocal

    Composer Kile Smith’s music is hailed by critics, performers, and audiences for its strong voice, sheer beauty, and “profoundly direct emotional appeal.” The recipient of numerous commissions, his music has performed throughout the U.S., in Europe, and the UK. Smith's very first works were art songs, and he has composed them throughout his career, having now written about 65 songs. For this recording, the performers are members of Lyric Fest, a Philadelphia based organization, whose mission is to bring people together through song and include mezzo-soprano Suzanne DuPlantis, tenor Jonas Hacker, soprano Jessica Lennick, baritone Daniel Teadt, clarinetist Doris Hall-Gulati and pianst Laura Ward, who is artistic director of Lyric Fest.

  • Catalog #: TROY1096

    Release Date: March 1, 2009
    Vocal

    For her third recording on Albany Records, Lisa comments: "This album presents a number of songs I wrote both on my own and in partnership with some terrific musicians with whom I have performed over many years..." New songs written for this album include Manhattan Under the Paris Moon, In the Shadow of a Crow and I Don't Believe in Romance. Kirchner performs an international jazz repertoire embracing American standards, French classics and Brazilian music. She is a singer, songwriter and actress equally at home in clubs and in theatre.

  • Catalog #: TROY1757

    Release Date: January 1, 2019
    Vocal

    In recent years, interest in Russian composer Nikolai Medtner (1880-1951) has surged. International festivals, conferences, and competitions dedicated to Medtner have taken place in Europe and Russia, with scholars and performers devoting greater attention to his work. This recording features Medtner's songs and a work for violin and piano. His songs interweave the piano and voice to enhance the music flow and to bring out the deep poetic meaning in each piece. The pianist, Sasha Burdin, has devoted a great deal of research to the piano works of Medtner with his DMA focused on Medtner. Soprano Rachel Joselson enjoys a distinguished career as an opera singer, recitalist, and teacher. She is currently on the faculty at the University of Iowa. This is her third recording for Albany Records. Violinist Scott Conklin, also on the faculty at the University of Iowa, is known for his "brilliance of tone and charismatic delivery." A champion of new music, his discography includes two recordings for Albany Records.

  • Catalog #: TROY1512

    Release Date: October 1, 2014
    Vocal

    It won't take long for the listener to realize that all 27 songs on this recording feature distinguished American women poets. Within this recording, you will hear the poetry of Dorothy Parker, Emily Dickinson, Didi Balle, Tess Gallagher, Edna St. Vincent Millay and Elizabeth Bishop. Their words, masterfully set by composers John Musto, Larry Alan Smith and Juliana Hall, will console, inspire and even amuse. An added bonus is that the composers all accompany soprano Cherie Caluda on their works. Ms. Caluda, a faculty artist at The Hartt School of the University of Hartford, has established herself as a champion interpreter of contemporary works with her beautiful voice and stunning technique. A graduate of Eastman and Loyola College and the Academy of Vocal Arts, she is a captivating artist who brings the words of the poets to life on this recording.

  • Catalog #: TROY1244

    Release Date: January 1, 2011
    Vocal

    Countertenor Darryl Taylor and pianist Brent McMunn have assembled a superb selection of classics from the still growing corpus of spirituals, including a number of arrangements by key figures in the history of black musical composition. With this project, Taylor and McMunn contribute powerfully to the continuous translation of this aged music from oral tradition to written composition Ñ from folksong to art song. Darryl Taylor has sung in concert halls across the United States and Europe. A native of Detroit, Taylor holds degrees from the University of Southern California and the University of Michigan. He is on the faculty at the University of California, Irvine.

  • Catalog #: TROY1314

    Release Date: November 1, 2011
    Vocal

    The art song cycles and collections crafted by the American composers on this recording musically document African-American culture through poetry, historical subjects, the diaspora and vernacular elements. This is a contemporary view of the art song tradition in world premiere recordings. Louise Toppin has received critical acclaim for her operatic, orchestral, and oratorio performances around the world. In addition to opera performances, including Lee Hoiby's one-woman opera The Italian Lesson, Ms. Toppin tours in Gershwin on Broadway.

  • Catalog #: TROY0846

    Release Date: May 1, 2006
    Vocal

    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.

  • Catalog #: TROY1836

    Release Date: August 1, 2020
    Vocal

    Joseph Marx (1882-1964) was a bit of a musical late-bloomer. He earned a doctorate in 1909, having studied philosophy, art history, and German studies, and only later adding musicology. Castigated for his seeming cooperation with the Nazis, he also spoke out against the avant-garde, which he believed had ushered in the decay of Austrian musical culture. Among his works, there is a trove of more than 150 songs. In their time, his songs were loved and championed by famous Austrian singers but he and his music came to be largely ignored. Soprano Kendra Colton is a versatile singer who performs repertoire from Baroque opera and oratorio to contemporary music and enjoys an active performing career. Pianist Laura Ward is co-artistic director of Lyric Fest and is a distinguished collaborative pianist.

  • Catalog #: TROY0812

    Release Date: November 1, 2005
    Vocal

    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.

  • Catalog #: TROY0634

    Release Date: March 1, 2004
    Vocal

    Terry Rhodes and Ellen Williams write: "Long having been fans of the music of Libby Larsen, we were thrilled to learn that this renowned and prolific composer would be among us in residency at Meredith College for a week in March 2002. And what a tremendous week it was - with Libby coaching young women composers who had gathered from all over the country! Libby epitomizes generosity of spirit. She not only shared her thorough understanding of composition and the realities of the music business, but also her unbounded passion for vocal music. After this wonderfully inspiring time together, we all decided to collaborate on a CD together. Longtime friend and valued colleague, Benton Hess, also had agreed to participate in this project. The summer of 2002 followed, with continuing dialogue among us all, as we researched and finally selected the appropriate repertoire. Autumn 2002, found us readying for a series of recitals of this program to perform in the spring of 2003. The process culminated in several illuminating days in New York City when we had the great fortune to work with Libby herself on her music. As we sang through the program, Libby shared her intentions for each piece, affirming what we had accomplished thus far, but also encouraging and inspiring us to discover that "next level," to really find the essence of each song. What a gift! We finally recorded on May 12, 13, 15 and 16, in Baldwin Auditorium on the Duke University campus in Durham, North Carolina. We'll continue to perform these wonderful songs with great joy and commitment, and we offer our very special thanks to Libby Larsen for creating such distinctive, humorous, heartwarming and honest music."

  • Catalog #: TROY1278

    Release Date: September 1, 2011
    Vocal

    Two works for voice by the internationally recognized composer C. Curtis-Smith are offered on this recording. The first -- Gold Are My Flowers -- is a cantata/melodrama for soprano, baritone and chamber group. The work tells the story of the coming of European civilization to the wildernesses of the world using poetry by the Chickasaw poet Linda Hogan, portions of the Navajo Night Chant, excerpts from Columbus' Log and Book of Prophecies and Biblical passages quoted by Columbus in his Log. A Civil War Song Cycle, the second vocal work, follows the emotional and chronological sequence of the Civil War. C. Curtis-Smith is the recipient of more than 100 grants, awards and commissions. He was the youngest faculty member ever awarded the Western Michigan University's Distinguished Faculty Scholar Award. His Twelve Etudes for Piano were selected for the repertoire list for the Eleventh Van Cliburn International Piano Competition in 2001. His music has been performed throughout the United States, Germany and Japan.

  • Catalog #: TROY0274

    Release Date: January 1, 1998
    Vocal

    Every label that specializes in American music, at one time or other, does an album devoted to the music of George Gershwin; trying to come up with a disc that is unusual and interesting is the challenge. As the title suggests, all the musicians on this album are friends; the instrumentalists are all members of the Grand Rapids Symphony Orchestra. Just as George Gershwin was himself a product of diverse cultural influences, so his songs represent a variety of musical forms, styles and mediums. The collection on this disc spans the entire creative period of Gershwin's life, from The Real American Folk Song (written in 1918, and his first collaboration with his brother Ira) to the songs for the 1938 movie "The Goldwyn Follies," Love Walked In, I Love To Rhyme, and Our Love is Here to Stay, which were released after the composer's sudden death. Gershwin's friendships and alliances are evident in the songs as well. There are eight songs written for Fred Astaire and-or Ginger Rogers, two songs from the Broadway musical "Girl Crazy," (notable for the fact that the show was the Broadway debut of Ethel Merman and featured a pit Orchestra that included the likes of Glenn Miller, Jimmy Dorsey and Benny Goodman), and further selections which feature Linn Maxwell Keller with the musicians as well as the musicians alone.

  • Catalog #: TROY0678

    Release Date: August 1, 2004
    Vocal

    Howard Stokar writes: "Religion, specifically the Judeo-Christian continuum, is integral to Charles Wuorinen's view of the world and his own work as a composer. The Latin Mass for the Restoration of St. Luke in the Fields was written to celebrate the rededication of a church in lower Manhattan which had burned to the ground on the night of March 6, 1981, and was subsequently rebuilt. The work is divided into seven sections: the first and last are purely instrumental, the central five compose the Kyrie, Gloria, Sanctus/Benedictus, Angus Dei and a Communion motet. The motet is a setting of words from St. John which are inscribed on the rood screen of the original church. The Mass is a central work in Wuorinen's catalog. It is actually a Missa Brevis as it does not include the Credo. The reason for this is practical: St. Luke's requires congregational singing of the Credo. The mass was performed for the first time on November 20, 1983 at St. Ignatius of Antioch, New York City. A Solis Ortu and the reworking of the Josquin motet Ave Christe for piano were composed for Stephen Fisher, then President of C.F. Peters Corporation. Fisher, a fine amateur photographer, had given Wuorinen a photo of the sun rising over Yosemite National Park. In response, Wuorinen wrote the lovely short a cappella antiphon, A Solis Ortu, which is based on a related chant in the Liber usualis "From the rising of the sun to the going down of the same, the name of the Lord is to be praised". The first performance took place as part of the Solemn Mass at St. Ignatius of Antioch Episcopal Church conducted by Harold Chaney on December 30, 1990. Ave Christie is a re-casting of a portion of a motet by Renaissance master Josquin des Prez. Unlike Busoni, whose transformations of Bach chorales into late 19th century virtuoso showpieces are designed to display the talents of the performer, Wuorinen presents the Josquin simply, with elegant octave doubling, and registeral changes. He transforms the motet into a choral-like work for piano". About the main work on this disc, Genesis, Michael Steinberg writes: "Herbert Blomstedt, Music Director (1985-1995) of the San Francisco Symphony, was not just the first conductor of Genesis; he was in an important sense, the inspiration and godfather of this powerful work. In one of his conversations with Charles Wuorinen during the four years, 1985 to 1989, that he, Wuorinen, was the San Francisco Symphony's composer-in-residence, Blomstedt said 'Wouldn't it be nice if someone wrote a new Genesis' or words to that effect. Moreover, having conducted several of Wuorinen's instrumental works - Movers and Shakers, The Golden Dance, Another Happy Birthday, the Piano Concerto No. 3, and Machault Mon Chou - Blomstedt was curious to see what effect the challenge of writing a new work for chorus might have on the composer's musical language. From these exchanges came the impetus for Wuorinen to add his Genesis to the list - not large, but distinguished - of compositions on that subject by Haydn, Schoenberg and Milhaud."

  • Catalog #: TROY1349

    Release Date: May 1, 2012
    Vocal

    Baritone Robert Peavler takes the opportunity with this recording to offer a program by American composers of the next generation from Charles Ives and John Duke (to name but two) carrying the torch forward as the new modern composers of art song. Kirke Mechem (b.1925) and Dominick Argento (b.1927) are a generation older than the other two composers includedÑThomas Pasatieri (b.1945) and Timothy Hoekman (b.1954). Robert Peavler is on the voice faculty at Eastern Michigan University. An active recitalist and soloist, Dr. Peavler consistently programs and champions new works by American art song composers. His collaborator, Arlene Shrut, is on the faculty of Juilliard and Manhattan School of Music and is an admired keyboard performer.

  • Catalog #: TROY0127

    Release Date: October 1, 1994
    Vocal

    During his lifetime Purcell was seen as a grand, almost super-human figure who was entrusted to compose the large, ceremonial pieces for major court and public events: coronation anthems, royal welcome and birthday songs, the lavish semi-operas for the London stage, St. Cecilia Day odes, and so forth. But there was another side of Purcell that is revealed by this recording: the provider of vocal and instrumental music for private, domestic consumption - music of the highest quality, originally performed by professionals, but collected and published for a mainly amateur market. Sally Sanford, Brent Wissick and Raymond Erickson, the artists on this recording, first met in the late 1970s at the Aston Magna Academy, a cross-disciplinary program in seventeenth-and eighteenth-century culture which brings together each summer scholars and baroque music specialists to consider music in relation to the other arts. They have collaborated on many projects since that time. This recording is an outgrowth of the 1987 Aston Magna Academy, "The Culture of Restoration England."

  • Catalog #: TROY1023

    Release Date: July 1, 2008
    Vocal

    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.

  • Catalog #: TROY0382

    Release Date: July 1, 2000
    Vocal

    Jack Beeson writes: "This selection of 26 songs (and two arias from operas) comprises about a third of my works for solo voice and piano and most of those written for soprano. The poetry dates from the end of the 16th century to the late 20th century and encompasses a wide variety of styles and subject matter. In order to reflect this variety, the music ranges widely in style, from the simplicities of the Blake settings to the 12-tone serialism of Fire, Fire, Quench Desire. Hughes's black-magic Death by Owl-Eyes invokes a traversal of musical idioms from early Renaissance open fifths to some of the habits of the 1960s. The song is dedicated to Otto Luening, another 20th century time-traveler. It is often forgotten that a musical setting is an arrangement of a poem: it is the composer's interpretation of the words, made audible by means of his or her choice of pitch, tessitura, accentuation, and phrasing in the vocal line, and choice of style, mood, and implied action in the accompaniment."

  • Catalog #: TROY0897

    Release Date: December 1, 2006
    Vocal

    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.

  • Catalog #: TROY0329

    Release Date: March 1, 1999
    Vocal

    The music generally recognized as most authentically American - blues, ragtime, jazz, rhythm and blues, rock and roll and its descendants - has deep roots in African-American culture and musical traditions. Equally important in African-American life though less well known is the tradition of concert music. The concert genres of art song and spiritual arrangements have a history dating back to the Federal period when the United States was still struggling to separate its own unique cultural and artistic identity from European influences. As the minstrel show assumed a prominent place in American musical life, mainstream American composers and African-American composers such as Frank Johnson, A.J.R. Connor and Henry F. Williams wrote charming, light-hearted parlor songs reflecting the forms, harmony, and limpid melodies of their British antecedents; some Louisiana composers wrote equally attractive songs using French texts and occasionally showing the influence of opera. Enclaves of free black Americans formed many of the first benevolent societies and African-American churches where educational opportunities and economic independence were more available to them than in other parts of the young United States. It is from this background that William Brown has drawn the delightful collection of songs that appears on this disc.

  • Catalog #: TROY1453

    Release Date: November 1, 2013
    Vocal

    Two world premieres — one by Lori Laitman who is known as one of America's most prolific and widely performed composers of vocal music — and the other by Richard Pearson Thomas, who is who is on the faculty at Teachers College/Columbia University and whose operas have been produced nationally — are enhanced by additional song cycles by these two esteemed composers. Soprano Natalie Mann is an active recitalist and champion of contemporary music, whose Carnegie Hall debut received critical acclaim. A recipient of a Metropolitan Opera Encouragement Award, Ms. Mann studied at Indiana University, Butler University and the University of Wollongong in Australia. Her colleague, Jeffrey Panko, has received performed as a solo artist and collaborative pianist throughout the U.S. and Europe. He is a member of the contemporary music group MAVerick Ensemble and on the faculty of the New Music School in Chicago. You can watch a video of Ms. Mann performing Old Tunes by Lori Laitman on youtube: https://www.youtube.com/watch?v=URnMQebyQuQ.

  • Catalog #: TROY0963-64

    Release Date: October 1, 2007
    Vocal

    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.'"

  • Catalog #: TROY1809

    Release Date: April 1, 2020
    Vocal

    With this recording, soprano Michelle Murray Fiertek presents a collection of songs lovingly grown in the American tradition, which audibly draw influence from domestic genres like folk and musical theatre. The diverse selection of poetry channels American landscapes, both great and small, and these images illustrate not only America's unique topography, but also a steadfast cultural appreciation of its singularity. Ms. Fiertek is an active performer and teacher of wide-ranging musical styles. An accomplished recitalist, Fiertek specializes in Spanish and American art song. A member of the faculty at The Hartt School and Manchester Community College, she also serves as executive director of the Hartford Opera Theater. Her collaborator, pianist Michael Korman, performs in opera productions and recitals as well as coaching classical singers and directng music at a church.

  • Catalog #: TROY1698

    Release Date: December 1, 2017
    Vocal

    The esteemed Mexican/American composer Daniel Catán (1949-2011) is best known for his opera Florencia en el Amazonas, which was premiered by the Houston Grand Opera in 1996. His first opera, Rappaccini's Daughter, was the first opera by a Mexican composer to be premiered in the United States. Catán enjoyed an international career and is probably best known for his operas and works for voice, for which he had a special affinity. This recording includes one of the arias from Florencia as well as a work for flute and harp; the Antonieta Songs, and Mariposa de Obsidiana, a work for voice, orchestra and chorus, based on a prose-poem by Octavio Paz. The performers include Cynthia Clayton, who has performed with the New York City Opera, Houston Grand Opera, Lyric Opera of Kansas City, Ft. Worth Opera and many others. She is on the faculty at the Moores School of Music at the University of Houston. Clayton is joined by Mexican mezzo-soprano Cecilia Duarte; flutist Salpy Kerkonian; harpist Andre Puente- Catán; baritone Hector Vásquez and the Texas Music Festival Orchestra and Chorus conducted by Franz Anton Krager.

  • Catalog #: TROY0277

    Release Date: February 1, 1999
    Vocal

    Brian Israel studied with Ulysses Kay, Robert Palmer, Burrill Phillips and Karel Husa. He graduated from Cornell in 1975. He taught at Syracuse University for 12 years until his untimely death at 35. His In Praise of Practically Nothing for tenor voice and eight-player Chamber ensemble was composed in Syracuse and is a setting of poems by Samuel Hoffenstein. Gerald Levinson is professor of music and former chair of the Department of Music and Dance at Swarthmore College. He studied composition with George Crumb, Richard Wernick and George Rochberg. His work in dark is a setting of poems by Nanine Valen and Robert Lax. David Noon is a graduate of Yale. His teachers have included Milhaud, Charles Jones, Yehudi Wyner and Mario Davidovsky. His Six Chansons were composed when he was a Fulbright Fellow in Warsaw, Poland. They are settings of six poems by the great Chinese master of the late Tang dynasty, Meng Chiao. Noon translated the poems into French. Robert Stern was educated at Eastman. He studied with Louis Mennini, Kent Kennan, Wayne Barlow, Lukas Foss and Howard Hanson. He writes: "Blood and Milk Songs takes its name from Blood and Milk Poems, a volume by Ruth Whitman. The lyric quality of the poetry is mirrored in the music, which is propelled by a strong melodic impulse."

  • Catalog #: TROY0261

    Release Date: February 1, 1998
    Vocal

    This album features René Fleming in what has to be one of her earliest recordings, if not the earliest. Renée Fleming received her M.M. degree from the Eastman School of Music. The music she sings on this recording was recorded in 1983, while she was still a student at Eastman. As well, the presence of the great Jan DeGaetani (1933-1989) makes this a special disc. For many years she taught at Eastman, as well as Aspen. Bruce MacCombie studied with among others, Wolfgang Fortner. For several years he taught composition at Yale University, and in the last decade he moved from teaching to administration, serving as Dean of the Juilliard School from 1986-92 and now as Dean of the School for the Arts at Boston University. Leaden Echo, Golden Echo is the setting of a poem by Gerard Manley Hopkins. Sydney Hodkinson received his earliest training at Eastman under Louis Mennini and Bernard Rogers. He also studied with Carter, Sessions, Leslie Babbitt and Ross Lee Finney. He has been on the faculty of Eastman since 1973, teaching both composition and conducting. The Alte-Liebeslieder or "Old Fashioned Love Songs" are based on contemporary poems. Stanley Walden studied composition with Ben Weber and has been a faculty member at Juilliard, Sarah Lawrence College, and the State University of New York, College at Purchase. In addition to his Broadway Musical Oh! Calcutta, which has been produced throughout the world, he has written scores for film and dance.

  • Catalog #: TROY0885

    Release Date: December 1, 2006
    Vocal

    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.