Press Release

Soprano Molly Fillmore releases album of works by Juliana Hall

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Soprano Molly Fillmore releases new collection of songs by

Juliana Hall on Blue Griffin Recording

Settings of texts by Edna St. Vincent Millay, Emily Dickinson, Carl Sandburg

Includes world premiere recording of "Cameos" – six songs on poetry by Fillmore herself, each inspired by a woman artist

“​a remarkably clear and dynamic soprano” – The Baltimore Sun

Soprano Molly Fillmore brings the words of Edna St. Vincent Millay, Emily Dickinson, Carl Sandburg and others to life on Bold Beauty, a new recording of vocal works by Juliana Hall (Blue Griffin Recording, BGR559, released September 24, 2021). Joined by pianist Elvia Puccinelli, Ms. Fillmore gives luscious performances of "Letters from Edna," "Symbols of Velvet, Sentences of Plush" (on letters from Emily Dickinson), and "Theme in Yellow" (with texts by Amy Lowell, Edna St. Vincent Millay, and Carl Sandburg).

Fillmore commissioned composer Juliana Hall to write the music to Fillmore’s own poems, Cameo, and the world premiere recording is included on this album. Inspired by Francis Poulenc's Le travail du peintre and an episode of PBS' Antiques Roadshow, Ms. Fillmore’s mission is to draw attention to the works of six female American painters (Sarah Albritton, Kay WalkingStick, Nellie Mae Rowe, Alice Dalton Brown, Agnes Pelton, and Corita Kent) from the last century. She says, “They challenged prescribed roles and expectations - they needed to be bold.”

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

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"Juliana Hall has set herself apart as a composer devoted to the art song.. [and she gives] fresh life to the concept of the American art song" Fanfare

"Bold Beauty"
Songs by Juliana Hall

Molly Fillmore, soprano
Elvia Puccinelli, piano

Blue Griffin Recording (BGR559)
Release date: September 24, 2021

Read/download liner notes
View Molly Fillmore's Digital Press Kit
Request a copy of this CD

TRACKS

LETTERS FROM EDNA (1993)
8 songs for Mezzo Soprano and Piano, on letters of Edna St. Vincent Millay
[01] To Mr. Ficke and Mr. Bynner 4:46
[02] To Arthur Davison Ficke (1913) 2:54
[03] To Anne Gardner Lync 3:10
[04] To Harriet Monroe 1:29
[05] To Norma Millay 0:51
[06] To Arthur Davison Ficke (1943) 2:10
[07] To Arthur Davison Ficke (1930) 0:41
[08] To Mother 3:40

SYLLABLES OF VELVET, SENTENCES OF PLUSH (1989)
7 songs for Soprano and Piano, on letters of Emily Dickinson
[09] To Eudocia C. Flynt 1:23
[10] To T.W. Higginson 3:22
[11] To Emily Fowler (Ford) 2:04
[12] To Samuel Bowles the younger 1:52
[13] To Eugenia Hall 0:46
[14] To Susan Gilbert (Dickinson) I 2:25
[15] To Susan Gilbert (Dickinson) II 1:38

THEME IN YELLOW (1990)
6 Songs for Mezzo Soprano and Piano, on poems by Amy Lowell, Edna St. Vincent Millay, and Carl Sandburg
[16] Song 1:55
[17] Ripe Corn 1:26
[18] November 1:56
[19] Theme in Yellow 1:34
[20] Splinter 1:10
[21] Haze Gold 2:02

CAMEOS (2018)
6 Songs for Mezzo Soprano and Piano, on poems by Molly Fillmore
[22] Sarah Albritton 2:35
[23] Kay WalkingStick 3:10
[24] Nellie Mae Rowe 2:06
[25] Alice Dalton Brown 2:06
[26] Agnes Pelton 3:58
[27] Corita Kent 3:09

About the Artists

Molly Fillmore, Professor of Voice at the University of North Texas and Chair of the Division of Vocal Studies, made her Metropolitan Opera debut in their newest Ring Cycle, and also appeared at the Met in a principal role in Satyagraha. Other engagements include San Francisco Opera, Seattle Opera, Washington National Opera, the Spoleto Festival, and twenty-five roles with Cologne Opera. She was a soloist with the Boston Symphony, Seattle Symphony, Detroit Symphony, at Carnegie Hall, Avery Fisher Hall, and the Kennedy Center.

Dr. Elvia Puccinelli is active as a pianist and coach throughout the country. She is a is an accomplished organist, harpsichordist, and choral conductor. She currently teaches at the University of Southern California and is on the coaching staffs of the University of California, Irvine and the Opera Works Summer Intensive Program.

American art song specialist Juliana Hall has composed some 60 song cycles, monodramas, and works of vocal chamber music described as “brilliant” (Washington Post), “beguiling” (Times of London), and “the most genuinely moving music of the afternoon” (Boston Globe) for renowned singers Brian Asawa, Stephanie Blythe, Molly Fillmore, Anthony Dean Griffey, Zachary James, David Malis, Randall Scarlata, Dawn Upshaw, and Kitty Whately. Hall’s music has been presented at Carnegie Hall, the Library of Congress, St. Paul’s Cathedral, and Wigmore Hall.

UrbanArias commissions dramatic song cycle for the 100th anniversary of the Tomb of the Unknown Soldier

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Creative team includes acclaimed composer Shawn Okpebholo, poet laureate Marcus Amaker and baritone Michael Mayes

Oct. 5: World premiere at The Barns at Wolf Trap

Nov. 11: Online premiere available worldwide

UNKNOWN is a song cycle honoring the Tomb of the Unknown Soldier at Arlington National Cemetery, on the centennial of its founding.

On November 11, 2021 - the 100th anniversary of the Tomb - a film incorporating footage of the world premiere performance of UNKNOWN with dramatic and historical scenes will be released online for a limited one-week run.

UrbanArias, an opera company based in Arlington, Virginia, commissioned the composer Shawn Okpebholo and the poet Marcus Amaker to write a song cycle for this occasion. The two had previously collaborated on an acclaimed work, Two Black Churches.

Two Black Churches by Shawn Okpebholo and Marcus Amaker

UNKNOWN explores the ideas of war, honor, and memory through the eyes of soldiers, family members, and Tomb Guards who are connected to each other and the Tomb through their mutual service and sacrifice. The Tomb Guards' motto, “Soldiers never die until they are forgotten. Tomb Guards never forget,” captures the solemn and profound significance of their duty.

The world premiere performance of UNKNOWN is on Tuesday, October 5, 2021, 7:30 pm, at the Barns at Wolf Trap in Vienna, Virginia. Featured performers are baritones Michael Mayes and Schyler Vargas and mezzo-soprano Taylor Raven, accompanied by members of the Inscape Chamber Orchestra, conducted by Robert Wood, the Founder and Artistic Director of UrbanArias. Details and ticket information are at WolfTrap.org.

The online premiere of the film of UNKNOWN is on Monday, November 11, 2021, the 100th anniversary of the founding of the Tomb of the Unknown Soldier. The film is available for on-demand streaming on UrbanArias website through November 18, 2021. Access is free.

Co-commissioning companies include Wolf Trap Foundation for the Performing Arts, Opera Colorado, Minnesota Opera, The Dallas Opera, and Opera Birmingham. Major support for the commission is also provided by Stephen E. and Dorothy P. Bird of Denver, CO.

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Biographies

A widely sought-after and award-winning composer, Shawn E. Okpebholo (oh-PEB-low) Okpebholo creates music that is diverse, dynamic, and genuine. He has been described by Augusta Read Thomas as "...a beautiful artist ...who has enormous grace in his music, and fantasy and color." His artistry has resulted in numerous prizes and honors, including The American Academy of Arts and Letters Walter Hinrichsen Award in Music, First Place Winner of the 2020 American Prize in Composition (professional/wind band division), the Inaugural Awardee of the Leslie Adams-Robert Owens Composition Award, and many others. He is Professor of Music Composition and Theory at Wheaton College Conservatory of Music in Illinois.

Marcus Amaker was named Charleston, SC’s first Poet Laureate in 2016. In 2021, he became an Academy of American Poets fellow. He’s also the award-winning graphic designer of a national music journal (No Depression), an electronic musician, the creator of a poetry festival, and a mentor. In 2019, he won a Governor’s Arts award in South Carolina, and was named the artist-in-residence of the Gaillard Center, a world-renowned performance and education venue. His poetry has been studied in classrooms around the country, and has been interpreted for ballet, jazz, modern dance, opera and theater. Marcus has recorded three albums with Grammy Award winning drummer and producer Quentin E. Baxter. His ninth book is Black Music Is, from Free Verse Press.

UrbanArias is dedicated to comissioning and producing short, contemporary operas – works that are up to 90 minutes long, and written within the last 25 years. UrbanArias brings engaging, accessible, and entertaining operas to audiences in the Washington, DC area and around the globe.

Complete piano works by Debussy, 1903-1907

Pianist Mathilde Handelsman's debut recording highlights a critical turning point in Claude Debussy's career

Debussy's complete works for piano from 1903 -1907 includes Images Books I and II, Estampes, L'Isle Joyeuse and more

“[Pianist Mathilde Handelsman's] calm technical mastery, immediate understanding of balance, nuance, colors, her sense of natural respiration honored the composer.” – Dernières Nouvelles d'Alsace

French-American pianist Mathilde Handelsman released her debut recording, Debussy: Images on the label Sheva Collection (2019). The album contains Claude Debussy's complete works for piano from 1903-07, including Images Books I and II, Estampes, Masques, D'un cahier d'esquiesses, and L'isle joyeuse.

Collectively, the works represent Debussy's turn towards writing more impressionistic and abstract works. His visit to the Exposition Universelles in Paris in 1899 had a tremendous impact on him. There he heard music from around the world, including Javanese gamelan music and flamenco, and incorporated these new influences into his own compositions. These are represented most apparently in the Estampes, with movement titles such as "Pagodas" and "The Evening in Granada," but is prevalent musically throughout all of the works on this album.

This musical connection between the pieces was very intuitive to Ms. Handelsman. "As a pianist, I sensed a common thread among these pieces, a unity pervading this period in Debussy's oeuvre for piano. Before I could intellectualize it, it was a feeling under my fingers."

For the recording, Ms. Handelsman was looking for a sound that was different from a modern piano. In a small town in France, she found a Steinway from Debussy's time (1875). "I wanted something with character and that piano definitely had a lot of character. There’s something a little bit different about the sound that comes out in the recording, and I wanted that for Debussy’s music."

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

"Handelsman was particularly fine at her piano, lacing her notes with soft pedal touches that allowed each note to flow graciously" – Boston Concert Reviews

Debussy: Images
Mathilde Handelsman, piano

Sheva Collection (SH234)
Released: September 25, 2019

Read/download liner notes
View Mathilde Handelsman's Digital Press Kit
Request a copy of this CD

TRACKS
All works by Claude Debussy

Images, Book 1, L. 110
[01] No. 1. Reflets dans l'eau (Reflections in the water) 05:47
[02] No. 2. Hommage à Rameau (Tribute to Rameau) 07:01
[03] No. 3. Mouvement (Movement) 03:52

Estampes, L. 100
[04] No. 1. Pagodes (Pagodas) 05:46
[05] No. 2. La soirée dans Grenade (Evening in Granada) 05:22
[06] No. 3. Jardins sous la pluie (Gardens in the Rain) 03:47

Images, Book 2, L. 111
[07] No. 1. Cloches à travers les feuilles (Bells through the leaves) 04:28
[08] No. 2. Et la lune descend sur le temple qui fut (And the moon descends on the temple that was) 05:21
[09] No. 3. Poissons d'or (Golden fishes) 04:06

[10] Masques, L. 105 04:53

[11] D'un cahier d'esquisses (From a sketchbook), L. 99 05:06

[12] L'isle joyeuse (The joyful island) , L. 106 06:27

The concert pianist Mathilde Handelsman is recognized for her “calm technical control, extraordinary vigor, and flawless musicality,” (Dernières Nouvelles d’Alsace). Born and raised in Paris, she came to the United States in 2015 to study with the legendary pianist Menahem Pressler.

Her début album, Images (Sheva Collection, released 2019) contains the complete works of Claude Debussy from 1903 to 1907. Passionate about French music and modern repertoire in general, Mathilde has given lectures on Debussy at international conferences and champions the piano works of Roger Boutry (Grand Prix de Rome, 1954).

Her career has taken her across Europe and the United States as a soloist, chamber musician, and orchestral pianist, and she has performed with conductors Seiji Ozawa, Thomas Adès, and Stefan Asbury, among others. Festival appearances include Tanglewood Music Center, Sarasota Music Festival and Pianofest in the Hamptons. Mathilde Handelsman is Resident Artist and Piano Faculty at the University of New Hampshire, and has published two volumes of poetry.

Pianist Andrea Botticelli's "A Voice from the Distance"

Out now: pianist Andrea Botticelli's "Stimme aus der Ferne - A Voice from the Distance"

Works by Robert and Clara Schumann, Schubert, and Czerny recorded on fortepiano

For her debut album, Stimme aus der Ferne - A Voice From the Distance(released May 14, 2021 on Céleste Music), the pianist Andrea Botticelli drew her inspiration from a predecessor of the modern keyboard, the fortepiano. Ms. Botticelli carefully chose the repertoire – works by Franz Schubert, Carl Czerny, and Robert and Clara Schumann - to highlight the unique expressive capabilities of the fortepiano. "The additional pedal creates an incredibly quiet sound, which enhances the intimacy in lyrical moments," writes Andrea Botticelli in the liner notes. "And, the transparent, sparkling upper register of the instrument perfectly suits the lightness and brilliance of the fast passages."

Ms. Botticelli’s album marks a number of “firsts”: the first commercial recording on the Graf fortepiano owned by the Banff Centre for Arts and Creativity in Canada, the debut recording of Robert Schumann's Novellette in F-sharp minor, Op. 21 No. 8, on fortepiano, the first album on her home-grown label, Céleste Music, and, quite possibly the first solo fortepiano album recorded by a Canadian artist. In addition to the Novellette, the album highlights many works - both classics and lesser known gems - from the Romantic period that are rarely performed on a historic instrument.

The Graf was built by Rodney Regier in 2014, and is a replica of a typical Viennese fortepiano from the 1830's.

The title of the album, “Stimme aus der Ferne - A Voice From the Distance” refers to an indication written in the score of the Novellette, by Robert Schumann, and also alludes to the sound of the fortepiano evoking a faraway musical past.

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

"Stimme aus der Ferne
A Voice from the Distance"
Andrea Botticelli, fortepiano

Céleste Music (ABOTT-01)
Released: May 14, 2021

Read/download liner notes
View Andrea Botticelli's Digital Press Kit
Request a copy of this CD

TRACKS

FRANZ SCHUBERT
[01-03] Sonata in A major, D. 665

CARL CZERNY
[04-10] Variations on a Theme by Rode, Op. 33 "La Ricordanza"

ROBERT SCHUMANN
[11-23] Papillons, Op. 2

CLARA SCHUMANN
[24] Soirées musicales, Op. 6 II. Notturno

ROBERT SCHUMANN
[25] Novelletten, Op. 21 VIII. Sehr Lebhaft

Celebrated for launching a “Fortepiano Renaissance” (The WholeNote), Canadian pianist Andrea Botticelli combines captivating artistic sensibility with insightful historical research. She has received numerous awards and grants as an emerging artist from the Banff Centre for the Arts and Creativity, Canada Council for the Arts, Early Music America, National Music Centre, Ontario Arts Council, Stingray Music, and the Wirth Institute for Austrian and Central European Studies. Andrea has recently presented concerts across Canada performing on fortepiano models from the early 18th to late 19th centuries, introducing performance on historical instruments and historically informed methods to new audiences. She performs a wide range of repertoire and keyboard instruments from the fortepiano, clavichord, and harpsichord to the modern piano. Andrea’s ability to revive and breathe new life into historical practices and to coax the expressive voice from each different instrument results in performances with a unique sound and an individual expressive style. She is a noted researcher on Beethoven and 19th century performance practices and instruments.

Antioch Chamber Ensemble: "In Praise of Music" out July 9

Out July 9 on Bridge Records: Antioch Chamber Ensemble sings music by Robert Kyr

Choral ensemble's album In Praise of Music celebrates the transformational power of music

On July 9, 2021 Antioch Chamber Ensemble with conductor Joshua Copeland releases Robert Kyr: In Praise of Music on Bridge Records (BRIDGE 9558). (Amazon pre-order link available here.)

The choral ensemble's album, In Praise of Music, touches on themes of conflict, celebration, peace-making, and music itself throughout the album's ten works, with texts by Kyr and a variety of other sources.

This collection celebrates the many ways in which music can be transformative. Kyr elaborates, declaring music "as a healing and awakening force; as a motivator for constructive action; as a spiritual catalyst; as a voice for freedom and peace; as wordless inspiration; and as a guide towards the light at the end of the tunnel."

Descriptions of each of the compositions bear this out. Freedom Song is a contemporary spiritual focused on the struggle for freedom in the face of racial and societal injustice. Santa Fe Vespers commemorates the 400th anniversary of two cultural landmarks—the Palace of the Governors in Santa Fe, New Mexico, and Claudio Monteverdi’s celebrated masterpiece, the Vespers of 1610. Most effectively described without text, the most serene aspects of daybreak are expressed in the wordless vocalise, Dawnsong.

A Vision of Peace is a setting of Kyr's adaptation of the “prayer of peace” from St. Francis of Assisi; and Alleluia for Peace gives voice to the word “Alleluia” in a variety of harmonic styles, and ultimately is interwoven with the text “Dona nobis pacem” (“Give us peace”).

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

Robert Kyr: In Praise of Music

Antioch Chamber Ensemble
Joshua Copeland, conductor

Bridge Records (BRIDGE 9558)
Release date: July 9, 2021

Read/download liner notes

View Antioch Chamber Ensemble's Digital Press Kit

Request a copy of this CD

TRACKS

[01] In Praise of Music 5:39
[02] O Great Spirit 3:17
[03] In the Name of Music 4:00
[04] Veni Creator Spiritus 6:26
Santa Fe Vespers 10:36
[05] I. Heaven Hear My Words 3:15
[06] II. Hail, Star of the Sea 2:55
[07] III. Seraphim 4:25
[08] Dawnsong 6:07
[09] Ode to Music 6:25
[10] Voices for Peace 3:12
[11] Freedom Song 3:53
[12] Alleluia for Peace 8:49

Widely regarded as one of the finest professional choral ensembles in the United States, the Antioch Chamber Ensemble has been giving exceptional performances since 1997. Under the leadership of founding Artistic Director Joshua Copeland, and executive director Stephen Sands, the ensemble strives to present a diverse program of the world’s greatest choral literature, both sacred and secular, and has performed works ranging from Renaissance polyphony to contemporary masterpieces with a core group of ten to twelve of the New York metropolitan area’s finest singers. The ensemble is a Ditson Foundation grantee for this recording project, and received a grant from the Aaron Copland Fund for Music for the first recording of choral works by Matthew Brown, "(though love be a day)".

The American Academy of Arts and Letters has recognized the breadth of Robert Kyr’s work with an award for distinguished artistic achievement. Hailed by The Wall Street Journal as “a powerful new achievement in American music that vividly traces a journey from despair to transcendence," Kyr's music often explores themes related to conflict, the environment, and spiritual issues. He is a renowned mentor and composition teacher at the University of Oregon School of Music and Dance, where he directs the Oregon Bach Festival Composers Symposium, the Music Today Festival, the Vanguard Concert and Workshop Series, the Oregon Composers Forum, and the Pacific Rim Gamelan.

Video release of "Beautiful Brown Boy" from "dwb (driving while black)"

New release of video excerpt from dwb (driving while black)

"My Beautiful Brown Boy" is a lullaby for our time

The critically acclaimed monodrama dwb (driving while black), with music by Susan Kander and libretto by Roberta Gumbel was released on Albany Records (Troy1858) in March, 2021. Called "un-missable" by The New York Observer and "searing" by The Washington Post, this chamber opera for soprano, cello and percussion connects with the essential conversation of our day: systemic racism..

Coinciding with Juneteenth (the June 19 holiday that commemorates the end of slavery in the U.S.) Kander and Gumbel release an excerpt from the video performance of the opera. A lullaby for our time, "My Beautiful Brown Boy" is sung by Ms. Gumbel and accompanied by New Morse Code (Hannah Collins, cello; Michael Compitello, percussion). View the video here or stream the audio on Spotify.

"Six syllables to express a mother’s love to her child, her dreams and worries for him: 'You are not who they see'," write Kander and Gumbel. "With these six short words, she acknowledges that his future hinges on a hard truth of American history going all the way back to 1619. We offer this lullaby, My Beautiful Brown Boy, in the hope that while it’s still true today, it will be less true tomorrow."

You, my beautiful brown boy
Beautiful brown boy
You are not who they see
My father told me, every morning,
You are not who they see.
I’m gonna tell you, every morning,
You are not who they see.

dwb documents the story of an African American parent raising a teenage boy as he approaches driving age. What should be a celebration of independence and maturity turns out to be fraught with the anxiety of driving while black. We are taken through 16 years of a Black mother’s interactions with her young son, during which the Mother relates to her child as a passenger in her car as her child grows up. Threaded between these scenes are vignettes based on real incidents. The singer takes on a variety of characters in specific but familiar events, relating the dangerous world beyond the Mother’s control

The City of Tomorrow releases “Blow” on June 25

Wind quintet The City of Tomorrow releases Blow (New Focus Recordings) on June 25, 2021

Album features the world premiere recording of Hannah Lash's "Leander and Hero" inspired by climate change, and works by Franco Donatoni & Esa-Pekka Salonen

Album release party: Join The City of Tomorrow and special guests online to celebrate the release of Blow on June 25, 8:30 pm EDT

On June 25, 2021, The City of Tomorrow releases Blow on New Focus Recordings (FCR294). The album features music by Esa-Pekka Salonen and Franco Donatoni, and the world premiere recording of a work Hannah Lash wrote for the quintet, supported by a Chamber Music America Classical Commissioning Grant.

For Leander and Hero, Lash took inspiration from the ancient myth of a man who swims across a body of water every day to see his lover, only to be swept up by a storm and die. In this composition, she uses this story as a metaphor for climate change, turning the lovers into two birds as the protagonists who play alone or as a duo, with the rest of the ensemble acting as a type of Greek chorus. A movement from this work, "Interlude: away from the rocks" is available to stream online as a preview track.

"The title work, Blow, by Franco Donatoni was a huge part of the genesis of the ensemble", wrote the members of The City of Tomorrow in an interview. "We formed in 2010, in part to have a group cohesive enough (and crazy enough!) to play it." The piece is typical of the late Italian composer's style; music that develops and transitions in unpredictable, irregular ways. Instruments clash with each other as soloists take on various roles, confronting the group as well as their instruments.

Memoria by Esa-Pekka Salonen was written for the Avanti! Chamber Orchestra, which he helped found, and similarly experiments with the idea of soloists vs. ensemble. Alto flute and horn are soloists as the ensemble builds into a single unit, culminating in a chorale that finishes the piece.

Join The City of Tomorrow and special guests online for a Virtual Album Release Party on June 25, 8:30 pm EDT.

The Album Release Party includes tracks from the album and conversations with the composer Hannah Lash, and album producers Stuart Breczinski and Jeff Means. The composer George Lewis joins in for a discussion about The City of Tomorrow's upcoming collaboration on a new work for wind quintet and electronics.

The event is free, registration (at this link) is required.

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

Cape Cod Chamber Music Festival: New Executive Director

Cape Cod Chamber Music Festival announces Paul Schwendener as new executive director

CCCMF's 42nd season runs August 3-13, 2021

Cape Cod Chamber Music Festival, founded by the pianist Samuel Sanders in 1979, announces the appointment of Paul Schwendener as Executive Director. Schwendener begins work on June 1, 2021. Elaine Lipton, who held the position since 2006, announced her retirement earlier this year. She will continue as Executive Director Emeritus through August, seeing the festival through its 2021 season.

“It is an honor to carry on the great tradition of this Festival, and I am delighted to work together with Elaine, the Board, and with Artistic Directors Jon Nakamatsu and Jon Manasse to ensure a smooth transition back to concert life in these challenging times,” said Schwendener.

CCCMF Board President David Farer said: “We are fortunate to have Paul on board as our new Executive Director. The Festival is already benefitting from Paul’s experience and insights. The synergies we see among Paul, Jon and Jon, Elaine and with the Board are exciting and inspiring.”

This summer, Cape Cod Chamber Music Festival brings live chamber music back to the community after presenting a virtual season in 2020. August 3 – 13, 2021, CCCMF presents concerts in iconic venues across the Cape, at the historic First Congregational Church in Wellfleet, the Cotuit Center for the Arts and the picturesque Cape Cod National Seashore Visitor’s Center. Details are at capecodchambermusic.org.

From 2011 to 2021, Schwendener served as Executive Director of the All-Star Orchestra, an ensemble comprised of top players from major American orchestras that has produced five seasons of public television programs, winning seven Emmy® awards. The All-Star Orchestra has also created extensive music educational content and lessons for the Khan Academy, providing free instruction to over six million students.

Over a 30-year career in the classical music recording industry, Schwendener has been instrumental in producing and marketing hundreds of recordings with leading artists and ensembles, including the Complete Mozart Edition (180 CDs) for Philips Classics and the Milken Archive of Jewish Music (600+ recordings.)

Schwendener is a Governor of the National Arts Club in New York City, and as co-chair of the Music Committee has programmed multiple seasons of chamber music concerts. Born in Michigan, Schwendener studied at the Eastman School of Music and at the Hochschule für Musik in Vienna where he also performed with the Choral Union of the Vienna Philharmonic for several years.

About the Cape Cod Chamber Music Festival

Hailed by The New York Times as “A Triumph of Quality,” the Cape Cod Chamber Music Festival (CCCMF) has been a presenter of chamber music and a major contributor to the cultural life of Cape Cod since its inception in 1979. The Festival was founded by the late Samuel Sanders with a goal was to establish a continuous presence of first-rate chamber music concerts on Cape Cod. As the Festival enters its 42nd season, it excels under the leadership of its Artistic Directors, the team of Jon Manasse (clarinetist) and Jon Nakamatsu (pianist), both acclaimed musicians who represent the top ranks of American chamber music. Together with CCCMF staff, an active Board of Directors and more than 60 local volunteers they bring a stellar mosaic of talent to the Cape. In addition to its annual summer season of concerts, community and school outreach programs and an annual benefit in New York, it partners with local cultural organizations for educational programs and fundraising.

For more information about Cape Cod Chamber Music Festival’s 2021 season, performers, mission and venues, visit capecodchambermusic.org, or follow Cape Cod Chamber Music Festival on Facebook.

Cape Cod Chamber Music Festival’s 42nd season

Cape Cod Chamber Music Festival announces triumphant return to live performances

CCCMF’s 42nd season, August 3-13, features Escher Quartet, Imani Winds, and artistic directors Jon Nakamatsu, piano, and Jon Manasse, clarinet

Cape Cod Chamber Music Festival is back on stage, August 3-13, 2021. The venerable chamber music festival’s 42nd season features performances by Artistic Directors Jon Manasse and Jon Nakamatsu, the Escher Quartet with Brian Zeger, and Imani Winds. Audiences will have their choice of three atmospheric venues. The historic, 300-year-old First Congregational Church in Wellfleet, the picturesque Cape Cod National Seashore Visitor’s Center in Eastham, and one of Cape Cod's major performing arts hubs; the Cotuit Center for the Arts. Year-round residents and summer visitors alike will have the opportunity to enjoy world class performances in nine concerts over two weeks.

The festival kicks off with a concert "In Celebration of Our Audience" performed by Jon Manasse (clarinet) and Jon Nakamatsu (piano). "Our wonderful Festival audience has shown incredible dedication and optimism, despite the difficulties of the past year. We conceived of this first concert as a personal message of gratitude for their support and a celebration of live chamber music returning to the Cape. We are thrilled to offer a season of programs including established masterpieces and exciting discoveries," says the two artistic directors about the program.

This is Executive Director Paul Schwendener's first season at CCCMF. Elaine Lipton - currently Executive Director Emeritus - will be retiring at the end of August from the position she's held since 2006. Schwendener says, “It is an honor to carry on the great tradition of this festival, and I am delighted to work together with Elaine, the Board, and with Artistic Directors Jon Nakamatsu and Jon Manasse to ensure a smooth transition back to concert life in these challenging times."

In the interest of public health and safety during the Covid-19 pandemic, concerts will be one hour in length with no intermission, and will abide by local guidelines to ensure a safe concert environment. Tickets are available by phone at 508-247-9400 and online at www.capecodchambermusic.org.

About the Cape Cod Chamber Music Festival

Hailed by The New York Times as “A Triumph of Quality,” the Cape Cod Chamber Music Festival (CCCMF) has been a presenter of chamber music and a major contributor to the cultural life of Cape Cod since its inception in 1979. The Festival was founded by the late Samuel Sanders with a goal was to establish a continuous presence of first-rate chamber music concerts on Cape Cod. As the Festival enters its 42nd season, it excels under the leadership of its Artistic Directors, the team of Jon Manasse (clarinetist) and Jon Nakamatsu (pianist), both acclaimed musicians who represent the top ranks of American chamber music. Together with CCCMF staff, an active Board of Directors and more than 60 local volunteers they bring a stellar mosaic of talent to the Cape. In addition to its annual summer season of concerts, community and school outreach programs and an annual benefit in New York, it partners with local cultural organizations for educational programs and fundraising.

For more information about Cape Cod Chamber Music Festival’s 2021 season, performers, mission and venues, visit capecodchambermusic.org, or follow Cape Cod Chamber Music Festival on Facebook.

**View concert details/calendar listings in full press release here.

Insider Interview with Elisabeth Remy Johnson

On the week of her album release, Elisabeth Remy Johnson talks about her new solo record on Albany Records “Quest” (Albany Records, TROY1863, released which features works by over a dozen women composers, including many of the harpist's own transcriptions. We asked her about the project, her transcription process, how far we’ve come in recognizing women in classical music, and her busy 2021-22 season.

What inspired you to choose the repertoire for the album? Were you already familiar with all these works, or in the process of making the album did you discover new composers and works you wanted to include?  

I like to explain the need for gender equity in programming from a standpoint of logic. Unless we’re willing to posit that men are inherently better at composing music – and I’m not – then we’re missing half of the best music out there, most of the time. There are many works on this album that I didn’t know 12 months ago. Some works I got to know by playing through music I’d ordered, some I found through, of all things, Twitter, which has an amazingly vibrant and supportive new music community.  

For example, I’d known for a long time “Felix Mendelssohn had a talented sister.” However, when I played through her “Mélodie” for the first time, I literally had tears in my eyes. It’s one thing to know an historical fact, and another to hear her voice, which has been largely silenced for so long. The recording repertoire had been set, but I was playing through “Mélodie” on Fanny’s birthday, a month before the recording date, and felt compelled to include her.  

This process of discovery has by no means hit an endpoint. Current obsessions include Amanda Aldridge, an amazing London-born composer. Her father was Ira Aldridge, a Black Shakespearian actor who moved from America to England in 1824, in the hope of finding a less racist working environment, and indeed, he became internationally acclaimed. Amanda Aldridge’s music is very hard to find, but I have a request in to the Library of Congress to receive a few piano works of hers that are out-of-print. I know one movement of one piano work of hers that is a thrill to play on harp, and can’t wait to find out more about her and her work.  

What’s your process for transcribing works, particularly the ones that were originally written for piano, for your instrument? I know in many ways harp and piano music is similar, but what sacrifices do you have to make when transcribing?  

It is of primary importance to me to really try to get to know the music, and to be faithful to its intent as I present it on harp. With the historical composers, all of them were also pianists, and some of them were truly exceptional performers. Clara Schumann and Amy Beach were of course highly lauded concert pianists. Mel Bonis was another truly lovely pianist. She often played the piano part in her chamber works, but she really didn’t enjoy the spotlight of a solo pianist. When you think about these women’s ability at the piano, and think about the societal conventions and restrictions they were confronted with, this was their voice. This was how they could truly speak without constraint, or deference, or propriety. Nothing about a transcription should dim or alter their voice. So, when I find a piece of music I love, I am willing to work as hard, and as creatively, as I possibly can to see if I can play it, authentically, on the harp.  

Transcribing pieces from piano to harp can be challenging – pianists use all 5 fingers of the hand, harpists only use 4. Also, harps have 7 pedals at the bottom, each with 3 positions. These are used to change the key of the instrument. Imagine the 47 strings of the harp being just the piano’s white keys, and pedals being used to tighten or loosen those strings to become the black keys of the piano. A transcription must clearly show accurate fingerings and when pedals must be moved, among other accommodations. Sometimes the original piano music becomes quite convoluted, so the next necessary step is “engraving”, re-writing the music with a computer program and re-printing as a transcribed part. 

Recently, the music industry has started (albeit slowly) to reckon with its historical lack of women composers being represented in programming decisions. What do you think has contributed to this shift in mentality, and why are some of the composers featured in Quest still relatively unknown?  

To be honest, this is a cyclical process, and we can never take our foot off the pedal. Entrenched attitudes can take generations to change. Mel Bonis was praised as one of the most brilliant pupils at the Paris Conservatory, but later in life, you can read her letters desperately scribbling for publishers to give her a fair deal. In a biography of Amy Beach, a reviewer of one of her performances was quoted, “As Robert Schumann prettily put, the names of true woman composers can be written on the leaf of a rose.” That shows a lot of things – pushing 75 years after he said that, that kind of statement was still thought “pretty”, and authoritative.  

Also, I’m a big running fan. When Shalane Flanagan won the NYC Marathon in 2017, there was a lot of talk about the “Shalane Effect” – she had been training with men a lot, was joined by more female teammates over the years, and instead of being threatened, she lifted them up, supported them, and they ALL did better. Well, you know what? Amy Beach was doing the same thing 100 years ago. She advocated for women composers (she wrote a strongly worded, published defense after women composers were publicly denigrated by a prominent male composer), and formed a league for their support and promotion. Her projects were derailed by the Depression, and the cycle began again. Equity is important, or we’re missing half of the best music out there.  

Tell me about The Even-ing Standard? How does Quest fit into the project, and where do you see it going?  

The Even-ing Standard is a really fun project where each month I post on social media a performance of a generally less-known work by a female composer. It’s a project to even out and open up the concept of standard repertoire. “Quest” is a recording compilation of some of my earlier discoveries, but there is no end in sight.  

In the works is a publication of a seven composer anthology of 19th century and early 20th century works that I have transcribed, with a special attention to providing a range of works from a more introductory level to professional expertise. The anthology will be my transcriptions, but the project encompasses much more, including some obscure harp works that are truly lovely. I also believe strongly in being a vocal advocate for the women composing today, both by incorporating their works into my performances and using their works in my teaching studios. 

This publication will be 24 pages of sheet music, and will include an introduction with biographies of the composers: Amanda Aldridge, Amy Beach, Mel Bonis, Lili Boulanger, Cécile Chaminade, Fanny Mendelssohn Hensel, and Clara Schumann. The pieces are beginner (2), intermediate (4) and advanced (1), so harpists of all levels can add historical women composers to their repertoire.  

As we all gradually head toward a post-pandemic world, what plans/projects do you have in mind?   

My 2021-22 season is busy! It’s amazing how we’ve gone from nothing-nothing-nothing to recording for broadcast to recording plus performing live, and next year looks like it will be a full orchestra performance schedule, while maintaining the A/V component. I recently had my first inside performance for an audience. During the first four, quiet measures, I heard some papers rustling in the audience and almost cried. It was such a gift to perform for an audience again in the same space, at the same time.  

I’m headed to Wyoming for a good portion of the summer, to play with the Grand Teton Music Festival, which I love. I’ll be performing orchestral works, the Mozart Flute and Harp Concerto, and also some great chamber music, including a trio by Mel Bonis, and The Merian Ensemble’s most recent commission, by Kimberly Osberg.  

My other projects include a solo harp commission I’ve been talking about with Clarice Assad, which would form a Triptych with the pieces by Amy Beach and Freya Waley-Cohen that are on this recording, and would involve a strong visual component. The Merian Ensemble has a long-term project to record an album of our commissions and transcriptions, with a strong emphasis on works composed by first-generation and newly immigrated American women.  

Music by a dozen women on harpist Elisabeth Remy Johnson's new album

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Harpist Elisabeth Remy Johnson's new solo album "Quest" features music by a dozen women

Transcribed works by Amy Beach, Fanny Mendelssohn, Clara Schumann, Niloufar Nourbakhsh and more; Harp solos by Kati Agócs, Freya Waley-Cohen, and others

Release date: June 1, 2021 on Albany Records

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The harpist Elisabeth Remy Johnson has gathered a substantial collection of works by women in her new album, “Quest” (Albany Records, TROY1863, release date June 1, 2021). The recording features new works by living composers Kati Agócs, Sally Beamish, Johanna Selleck and Niloufar Nourbakhsh; gems from the 19th and 20th centuries by Clara Schumann, Lili Boulanger, and Amy Beach, all transcribed by Remy Johnson; and Remy Johnson's own arrangement of an Appalachian folk song. “I’ve made a concerted effort to include more works by women in my performances,” said the harpist. “It has always seemed to me that these works must be out there.”

Elisabeth Remy Johnson said she was struck by the sheer beauty of compositions by Clara Schumann, Fanny Mendelssohn, Mel Bonis and others. “I started reading about their lives and was amazed all over again," she said. "These women were pillars of strength, pursuing their passion no matter the barriers.”

“Quest” features world premiere recordings of Remy Johnson's transcriptions of works originally composed for piano. Her transcription process is straightforward. “First I get to know the repertoire of the composer I’m exploring, and get a sense of which pieces truly speak to me. Then, I start playing through them to see which are ultimately going to fit well on the harp.”

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

QUEST
Elisabeth Remy Johnson, harp

Albany Records (TROY1863)
Release date: June 1, 2021

Read/download liner notes

View Elisabeth Remy Johnson's Digital Press Kit

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Elisabeth Remy Johnson is acclaimed by critics and audiences for her “complete mastery of the harp and its secrets” (The Boston Globe). She has been the principal harpist of the Atlanta Symphony Orchestra since 1995, with whom she has performed concertos by Debussy, Handel, Mozart and Ginastera. She is principal harpist with the Grand Teton Music Festival, and has been the invited guest principal with the Boston, Houston, and Milwaukee symphonies.

In addition to her orchestral work, Ms. Remy Johnson performs solo and chamber music recitals across North America and throughout the world. She has performed with the Atlanta Chamber Players, and at the Carolina Chamber Music Festival, the Amelia Island Chamber Music Festival, the Emory Chamber Music Society, and is a frequent guest at the Meeting House Chamber Music Festival on Cape Cod, MA.

Other solo titles in addition to Quest include A Christmas Collection (2015), Whirlwind (ACA Digital Recording, 2000), and a duo album Encantamiento (ACA Digital Recording, 2008, with ASO principal flutist Christina Smith), and she has performed on dozens of recordings with the ASO.

Pianist Inna Faliks: “Reimagine” released June 11

Pianist Inna Faliks brings together some of the most accomplished composers of past and present in Reimagine Beethoven and Ravel, to be released on June 11, 2021

Faliks performs commissioned works by Billy Childs, Timo Andres, Paola Prestini, Richard Danielpour and others alongside Beethoven's Bagatelles Op. 126

Billy Childs’ “Pursuit”, inspired by current events,
released as a single on May 28

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When pianist Inna Faliks asked Billy Childs to reimagine Ravel’s “Scarbo” (from Gaspard de la Nuit), he latched on to the image of Scarbo as an evil goblin. “It turned into - in my mind - a sadly familiar American storyline, in which a Black man is being pursued,” said Childs. His composition “Pursuit” brings out the urgency of the moment, simultaneously crafting a new work as fiendishly difficult to play as Ravel’s notorious finger-buster. “Pursuit” will be released as a single on May 28, 2021 on Navona Records.

The versatile Faliks also commissioned Timo Andres, Paola Prestini, Richard Danielpour and a half dozen others to compose responses to Ravel's Gaspard de la Nuit and Beethoven's Bagatelles, op. 126. The world premiere recordings, alongside her performance of the Bagatelles, are collected on her new album, Reimagine: Beethoven and Ravel (Navona NV6352; release date June 11, 2021).

In this homage to Beethoven and Ravel, the Ukrainian-born American pianist ties together three centuries of music and a range of social commentary and interpretations with her acclaimed artistry and impressive technique.

Faliks chose Bagatelles Op. 126, the last work that Beethoven wrote for piano, as a jumping off point. "This group of six pieces fascinates me with its childlike wonder, wit, moodiness, charm, rhythmic energy, transcendence, and experimentation," wrote Faliks in the album's liner notes.

She commissioned six of her colleagues at UCLA, where she is head of piano studies: Peter Golub, Tamir Hendelman, Richard Danielpour, Ian Krouse, Mark Carlson, and David Lefkowitz. Each composed a response to a single bagatelle. "Interspersing the new Bagatelles with the original felt like the most organic way to present them," said Faliks. "I hope that the emerging dialogue between then and now highlights the unique character of the original while forming a wholly new sonic adventure."

Expanding the scope of the project, Ms. Faliks turned to an iconic work - Gaspard de la Nuit - which she chose for Ravel's use of rich experimentation and sonic contrasts, as well as its vast pianistic challenges, all traits she sought in the responses. Each of the composers was inspired by a particular aspect of Ravel's music, which itself was inspired by poetry by Aloysius Bertrand.

These three composers - Paola Prestini, Billy Childs, and Timo Andres - are all recognized for their works that are relevant beyond the notes, connecting to current events and societal issues. In addition to Childs’ “Scarbo: Pursuit”, Timo Andres’ “Le Gibet: Old Ground" examines how Bertrand's poem romanticizes the image of a hanged corpse at sunset, which Timo chose to end with a fragment of Billie Holiday's "Strange Fruit". Paola Prestini's "Ondine: Variations on a Spell" similarly draws inspiration from Ravel's music and Betrand's poetry.

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.


Reimagine: Beethoven and Ravel
Navona Records (NV6352)
Release date: June 11, 2021

Inna Faliks, piano


Program notes and track list

View Inna Faliks' Digital Press Kit

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“Adventurous and passionate” (The New Yorker) Ukrainian-born American pianist Inna Faliks has made a name for herself through her commanding performances of standard piano repertoire, as well genre-bending interdisciplinary projects, and inquisitive work with contemporary composers. After her acclaimed teenage debuts at the Gilmore Festival and with the Chicago Symphony Orchestra, she has performed on many of the world’s great stages in recital and with many major orchestras, performing with conductors Leonard Slatkin, Keith Lockhart and many others.

Ms. Faliks collaborates with and premieres music by some of today’s most significant composers, including Billy Childs, Richard Danielpour, Timo Andres and Clarice Assad. She is known for her poetry-music series Music/Words, and has worked with a number of prominent poets. She regularly tours her monologue-recital Polonaise-Fantasie, the Story of a Pianist, which tells the story of her immigration to the United States from Odessa (recorded on Delos). Besides Reimagine, her discography includes all-Beethoven and Rachmaninoff/Ravel/Pasternak discs for MSR Classics, and the Master and Margarita project, featuring three world premieres on Sono Luminus.

In addition to her other impressive accomplishments, Faliks is a respected educator and is head of Piano Studies at UCLA. She is also a published writer, with articles and essays appearing in Los Angeles Times and The Washington Post, among other media outlets. Inna Faliks is a Yamaha Artist, and is represented by John Gingrich Management.

Released March 15 on Albany Records: dwb (driving while black)

Acclaimed chamber opera with music by Susan Kander and libretto by Roberta Gumbel confronts the topic of systemic racism

World premiere audio recording features chamber duo New Morse Code and soprano Roberta Gumbel

"One of the most singularly devastating theatrical moments of the last year.”–The Pitch

When composer Susan Kander and soprano Roberta Gumbel collaborated on a new chamber opera, the narrative was woven directly from Gumbel’s life. “Roberta’s libretto comes from her experience raising her son,” said Kander. “This story of a Black youngster growing up to be a teenager, about to get behind the wheel, brings up so many possibilities, each with the potential to end in tragedy.”

“Singers are storytellers,” said Gumbel, “but rarely do we get the opportunity to help create the stories we are telling.”

The critically acclaimed monodrama dwb (driving while black), with music by Susan Kander and libretto by Roberta Gumbel is released on Albany Records (Troy1858) on March 15, 2021. Called "un-missable" by The New York Observer and "searing" by The Washington Post, this chamber opera for soprano, cello and percussion connects with the essential conversation of our day: systemic racism.

Susan Kander wrote dwb for the performers on this world premiere recording: Roberta Gumbel (who also wrote the libretto) and New Morse Code (cellist Hannah Collins and percussionist Michael Compitello). It documents the story of an African American parent of a teenage boy as he approaches driving age. What should be a celebration of independence and maturity turns out to be fraught with the anxiety of driving while black.

dwb takes us through 16 years of a Black mother’s interactions with her young son. The libretto weaves two strands - one internal, one external. The Mother relates to her child as a passenger in her car as the child grows older. Threaded between these scenes are a series of vignettes based on real incidents, introduced in narration by the instrumentalists with contrasting color and texture in the music. The Singer takes on a variety of characters in specific but familiar events, relating the dangerous world beyond the Mother’s control.

The cellist and percussionist are active parts of the drama as both narrators and witnesses. Composer Susan Kander explores the vast timbral and textural possibilities for the two - the percussionist plays vibraphone among 21 other instruments; the cellist also plays toy piano and tambourine; one scene is scored for the human body, a twenty-first century reference to juba or ham-boning.

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

dwb (driving while black)

Albany Records (Troy1858)
Release date: March 15, 2021

Susan Kander, composer
Roberta Gumbel, librettist & Soprano

New Morse Code (Hannah Collins, cello and Michael Compitello, percussion)

Read the liner notes
View Susan Kander's Digital Press Kit
Request a copy of this CD

Susan Kander’s compositions have been praised by critics as “lovely and evanescent” (San Francisco Chronicle) and “wrenchingly powerful” (Gramophone Magazine). Her music has been performed around the world and she has received commissions from Opera Minnesota, Opera Theater of St. Louis, Lyric Opera of Kansas City and National Symphony Orchestra, among many others.

In addition to dwb (driving while black), written with librettist Roberta Gumbel, Susan Kander’s catalogue also includes several long-form song cycles for voice and chamber ensemble, as well as instrumental works, which have been performed in venues large and small from the Kennedy Center in Washington, DC to the White Nights Festival in Russia.

Ms. Kander holds a Master’s in composition at Purchase Conservatory, studying with Du Yun and Huang Ruo, and a Bachelor’s in music from Harvard University.

Roberta Gumbel, soprano and librettist, has appeared with opera companies in Kansas City, Houston, Indianapolis, Detroit, Philadelphia, and Memphis, and toured the United States and Europe in companies of Porgy and Bess, including the renowned Houston Grand Opera Production. She performed in the Broadway productions of Showboat, Ragtime, Baz Luhrmann’s La Boheme and In My Life, in which the New York Times described her as “silver voiced”.

A versatile performer, Roberta has been a frequent soloist with Wynton Marsalis and Jazz at Lincoln Center. Her long association with composer Susan Kander began in 1996 with the Lyric Opera of Kansas City’s commission of She Never Lost a Passenger, in which Roberta premiered the principal role of Harriet Tubman.

Alan Hovhaness: Selected piano compositions

Pianist Şahan Arzruni performs world premiere recordings of unpublished works

110th anniversary of Hovhaness's birth is March 8, 2021

The pianist Şahan Arzruni has stacks of handwritten manuscripts from his longtime friendship with the American-Armenian composer Alan Hovhaness (1911-2000). On the album Alan Hovhaness: Selected piano compositions (Kalan Music) Arzruni recorded a collection of these works, nearly all world premiere recordings of unpublished scores.

Although Hovhaness has a vast catalogue of 500+ works, including 67 symphonies and music for chorus, chamber music and solo piano, few of his works receive regular performances. Influenced by the music of his Armenian father’s homeland, his style is trademarked with the nationalistic music he incorporated into his compositions.  

The Armenian pianist Şahan Arzruni says the compositions date from the 1940s and early 1950s. Arzruni writes in the liner notes, "Alan Hovhaness was a musician-mystic who rejected the materialistic values of the Machine Age. He explored, instead, the transcendental realm—using music as a link between the physical and metaphysical worlds. Hovhaness took non-Western cultures as his point of departure, while employing the tools of Western music as his frame of reference."

The liner notes booklet contains extensive photos, historical information, and analysis in English, Armenian and Turkish, written by Arzruni. Although the album was released in 2019, it was not distributed in the United States. It is available for purchase on Amazon. Contact ClassicalCommunications@gmail.com to request a physical or digital copy.

Alan Hovhaness: Selected Piano Compositions

Şahan Arzruni, piano

(Kalan Music, 2019)

Read the liner notes

View Şahan Arzruni's
Digital Press Kit

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Şahan Arzruni (shah-HAN ards-roo-nee) is an Armenian classical pianist, ethnomusicologist, lecturer, composer, writer and producer, residing in New York City. He has toured throughout the world and has given command performances at the White House and the British, Danish, Swedish and Icelandic courts. 

Motivated by ethnic awareness in the United States, Arzruni continuously researches the musical roots of his Armenian heritage. He recorded a three-record anthology of Armenian piano music and co-produced an eight-disc set of instrumental and vocal Armenian music. He also delivered papers and organized symposia for Harvard University, Columbia University and University of Michigan. Şahan Arzruni is the author of scholarly books and is a contributor of articles for academic journals, The New Grove Dictionary and the Dictionary of the Middle Ages.

In 2015, the president of the Republic of Armenia awarded him the Movses Khorenatsi Medal for exceptional achievement in cultural development. Mr. Arzruni holds degrees from The Juilliard School and has pursued doctoral studies at New York University. He has made dozens of recordings for Philips, New World Records, Musical Heritage Society and other labels.

Pianist Zixiang Wang releases debut recording: “First Piano Sonatas: Scriabin and Rachmaninoff”

Featuring rarely-heard works by Scriabin and Rachmaninoff

Release date: February 15, 2021 on Blue Griffin Recording

Award-winning pianist Zixiang Wang 王子翔 (Wong Tzuh-schi-ANG) shines a light on two lesser-performed works by Alexander Scriabin and Sergei Rachmaninoff. "First Piano Sonatas: Scriabin and Rachmaninoff", released February 15, 2021 on Blue Griffin Recording (BGR579), is Mr. Wang's debut solo album. Praised by audiences all over the world for his passionate and sincere performances, Zixiang Wang's affinity for Romantic and Post-Romantic musical works have led to his exploration of lesser-known music by well-known Romantic composers.

The two main works on this CD are both composers’ first piano sonatas, and were written under vastly different circumstances. Scriabin composed Piano Sonata No. 1 in F minor, Op. 6 at the age of twenty, while he was still a student at the conservatory. The previous summer, he injured his right hand due to excessive practicing. “Incurable” as the doctors told the young virtuoso, the ailment put a devastating end to his performing career, which directly catalyzed his desire to compose “the first sonata with a funeral march”—a funeral for his right hand.

Rachmaninoff’s first sonata, on the other hand, was composed during his mature period. Written following his move to Dresden, Piano Sonata No. 1, along with Symphony No. 2 and the opera Monna Vanna (unfinished) are referred to as the “Dresden pieces”, a group of opera-like compositions influenced by his time conducting opera at the Imperial Grand Theatre. Rachmaninoff did consider, at one point, rewriting the first sonata as a symphony, and later gave up on this idea only because of the work’s “purely pianistic style".

"Scriabin’s keyboard writing style evolved notably," says Zixiang Wang, "from late romanticism to mysticism. However, in this early work we can hear some musical qualities that never left Scriabin –­ sensibility, colorfulness and philosophical musings attached to the composition." Read more of Mr. Wang's thoughts about the repertoire on this CD and more in our Insider Interview.

TRACKS

Alexander Scriabin

[1-4] Piano Sonata No.1 in F minor, Op.6

[1] Allegro com focoso 8:40

[2] quarter note = 40 4:33

[3] Presto 3:37

[4] Funèbro 5:18

Sergei Rachmaninoff

[5-7] Piano Sonata No.1 in D minor, Op.28

[5] Allegro moderato 14:08

[6] Lento 9:27

[7] Allegro molto 14:32

Rachmaninoff

[8] Prelude in F major 3:58

Award-winning pianist Zixiang Wang has been praised by audiences all over the world for his passionate and sincere performances. His affinity for Romantic and Post-Romantic musical works have led to his exploration of unknown music by well-known Romantic composers.

His recent highlights include performances of Rachmaninoff’s Piano Concerto No. 3 with Old York Road Symphony, Liszt’s Piano Concerto No. 1 with Ann Arbor Symphony Orchestra, and a solo recital at the Shanghai Oriental Art Center.

Zixiang has been a prize-winner at numerous national and international competitions, including the 13th Teresa Llacuna International Piano Competition and the William Byrd Young Artist Competition. He has participated in many renowned festivals, including the Philadelphia Young Pianist Academy, Aspen Music Festival, Rebecca Penneys Piano Festival, Sewanee Music Festival, and Perugia Music Festival.

In addition to performing and teaching, Zixiang is also dedicated to building the bridge between Western classical music and audiences from his homeland of China. He has created a lecture series, “Trace of Music”, in which he shares his insight on major Western musical works via Chinese online platforms. Zixiang Wang holds degrees from Shanghai Conservatory of Music (B.M.), The Juilliard School (M.M.), and University of Michigan (D.M.A.).

Jaap Nico Hamburger Inside Info about his Piano Concerto

In August 2020, composer Jaap Nico Hamburger released the commercial recording of his Piano Concerto on Leaf Music performed by Assaff Weisman and l’Orchestre Métropolitain de Montréal, Vincent de Kort, conductor. Mr. Hamburger spoke with us about his inspiration behind this work.

What made you interested in writing a piano concerto? 

My musical training was primarily focused on becoming a concert pianist. Consequently, and for many years, I had the privilege of studying the works of the masters in the very extensive piano literature. In the early 2000’s, I was approached by Jacob Boogaart, a Dutch concert pianist, who spent many years compiling an anthology of Dutch keyboard music. He came to visit me in Vancouver (where I lived at the time) and told me he had recorded compositions from the 1600s all the way up to the 1990s. But he had no works that had been composed in the 21st century. He then asked me if I would contribute to his recording. The thought of adding to the existing - and deeply revered - piano literature was rather scary and, as I realized, something I had until then deliberately avoided. I took up the challenge and composed both a solo sonata in two movements (Jacob Boogaart recorded the second movement; http://www.jacobbogaart.com/portfolio/the-art-of-dutch-keyboard-music/) and the piano concerto.

What challenges do you face when writing a piece for piano and orchestra? 

The work turned out to be rather large, with three movements and a score that requires the forces of a sizable symphony orchestra. The challenges were plenty, including but not limited to: making it interesting enough for pianists to spend the time and effort to study and perform the work, to make good use of the orchestra in terms of instrumentation, but also to be able to tell my audience a story that requires them to stay engaged for more than twenty minutes.

How did you and the pianist Assaff Weisman connect about this project?

I was already aware of Assaff’s work as pianist with the fantastic Israel Chamber Project. When the opportunity came up to record the work and I asked my agent Barbara Scales to suggest a soloist, the universe came together when her very first and enthusiastic reaction was ‘call Assaff!’. I remember that I reached him by phone as he was on tour. Much to my surprise, he got back to me within 24 hours with a very detailed and technical question about one particular bar in the second movement….while on tour, he had read and played through the entire work within a day! I also remember that within no time, he invited me to a Skype meeting in which he played through the entire work from memory. The man is a genius! The combination of Assaff’s art, the phenomenal quality of L’Orchestre Metropolitain de Montreal, and the pure joy of working with conductor Vincent de Kort made this recording for me an unforgettable experience. Of course, the quality of the team, including Misha Aster as producer and Jeremy VanSlyke of Leaf Music as chief recording technician contributed immensely to the quality of this recording.

Oct. 20: live-stream opening ceremony from Vienna and New York of an exhibition celebrating opera stars Marta Eggerth and Jan Kiepura

On October 20 at 12 pm EDT, the Austrian Cultural Forum New York presents a live-streamed ceremony opening an exhibition in Vienna honoring the stage and film careers of the opera and operetta stars Jan Kiepura and Marta Eggerth. The opening event will be streamed on Youtube.

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For media only, a live press conference and Q&A begins at 1 pm EDT, via Zoom. In addition to a discussion with Mr. Kiepura, Mr. Benson, and Susanne Korbel (curator of the exhibition), vintage film clips will be shown. Contact MaryKat Hoeser to request an invitation.

The noon livestream includes events in both Vienna and New York. From Vienna, Ramon Vargas of the Vienna Staatsoper performs, and Wolfgang Sobotka (President of the Austrian Parliament) gives a welcome statement. From ACFNY in New York, Marjan Kiepura (son of Eggerth and Kiepura), shares stories of family life in conversation with ACFNY Director Michael Haider and opera scholar Ken Benson. A clip from the 1949 film Valse Brilliante will be shown. The entire opening event will be in English.

The exhibition at the University of Music and Performance in Vienna (mdw) honors the stage and film careers of Jan Kiepura and Marta Eggerth, who together escaped Nazi-occupied Austria in 1938, having created a musical legacy that would revolutionize opera and operetta.

Violinist Jerilyn Jorgensen and pianist Cullan Bryant release Beethoven's Complete Piano and Violin Sonatas on Albany Records

BEETHOVEN

COMPLETE SONATAS FOR PIANO & VIOLIN ON HISTORIC INSTRUMENTS

Jerilyn Jorgensen, violin

Cullan Bryant, piano

Played on period instruments from the Frederick Collection

Release date: July 31, 2020 on Albany Records

Performed on period instruments of the Frederick Collection, violinist Jerilyn Jorgensen and pianist Cullan Bryant play Beethoven's Complete Piano and Violin Sonatas on Albany Records, (Troy 1825-28, released July 2020).

Ms. Jorgensen and Mr. Bryant took a historically informed approach in their interpretation of these sonatas. "Using original instruments from the Frederick Collection sparked profound insight into Beethoven's intended sound palette", says Ms. Jorgensen. "It brought us renewed commitment to build interpretations of these masterpieces from the ground up." They selected five different keyboards from the most extensive collection of early pianos in the United States. "These instrument choices highlight Beethoven's evolving style," explains Ms. Jorgensen, "bringing the listener on a journey from his crisp earlier works to the brink of his introspective late period."

Acclaimed historical performance practice instrumentalists, Jorgensen and Bryant were featured artists at the Historical Keyboard Society of North America 2018 conference, and were invited back in 2021. They have played at the National Music Museum in Vermillion, South Dakota, the Loring-Greenough House in Boston, at the Frederick Collection, and across the early piano network of university series in Greensboro, Winston-Salem, and Greenville, North Carolina.

Contact ClassicalCommunications@gmail.com to request a physical or digital copy of this recording.

Instruments used on the Recording

For this recording, Ms. Jorgensen and Mr. Bryant used keyboard instruments from the Frederick Collection of Historic Pianos in Ashburnham, MA. Each piano has a rich history and was chosen for its connection to Beethoven himself and his historical period. To learn more about the instruments, read the liner notes.

Casper Katholnig ca.1805-1810, Vienna (Sonatas 3,5,6,7).

This piano had been part of the estate of the Esterházys, at their palace at Eisenstadt. In 1807, Beethoven conducted his mass honoring the wife of Prince Nikolaus Esterházy at Eisenstadt.

The Katholnig represents the last kind of piano sound Beethoven was able to hear clearly before becoming severely deaf. One may suppose his compositions even after this time were conceived for the kind of piano tone Beethoven remembered, rather than for later instruments whose sound he could only imagine.

Other Pianos used in this Recording:

Joseph Brodmann c.1800-1805, Vienna (Sonatas 2,8)

Unsigned Piano c.1795, in Viennese style (Sonatas 1,4)

Johann Nepomuk Tröndlin ca.1830, Leipzig (Sonata 9)

Ignaz Bösendorfer ca. 1830, Vienna (Sonata 10)

Read about the history of each of these instruments in the liner notes

The Violin

Built in Vienna in 1797, the Andrea Carolus Leeb violin played in these recordings is a rare example of an eighteenth century violin that retains an early neck set. In terms of arching this violin is flatter and more powerful than many contemporaneous instruments, reflecting a forward thinking concept for its time. The combination of a rare, intact neck set and powerful arching make this instrument particularly valuable for period-practice informed performances.

Ms. Jorgensen also used a number of historical bows for this recording. More information is in the liner notes.

LUDWIG VAN BEETHOVEN

THE COMPLETE SONATAS FOR PIANO& VIOLIN ON HISTORIC INSTRUMENTS

Jerilyn Jorgensen, violin

Cullan Bryant, piano

Albany Records: TROY1825-28

Released: July 31, 2020

Download the cover art

Read the liner notes

Jerilyn Jorgensen is an accomplished artist on both modern and period instruments. She is praised for her “taut, confident playing, brimming with thrust and color” by Los Angeles Times, and her “ease, authority, and thoroughgoing excellence” by San Francisco Chronicle

Ms. Jorgensen was first violinist of the Da Vinci Quartet (1980-2004). She performed with the quartet throughout the United States for a quarter century, including a national television appearance on NewsHour with Jim Lehrer on PBS.

Jerilyn Jorgensen is on the performance faculty of Colorado College. She has also held positions at Lamont School of Music of the University of Denver and the Crane School of Music, SUNY Potsdam. She is the director and co-founder of the Manitou Chamber Music Festival since 2014. She holds a Master of Music degree from The Juilliard School and a Bachelor’s degree from the Eastman School of Music. 

Pianist Cullan Bryant, sought-after for his sensitive and supportive partnership, is an active solo, chamber and collaborative pianist. As a soloist, he has performed on the Piano Lunch series in New York, at the Frederick Collection in Ashburnham, Massachusetts, and at the Long Island Beethoven Festival where he performed 16 Beethoven piano sonatas in a 2-day marathon.

He toured throughout Japan with violinist Midori, and performed in recital with the violinists Emanuel Borok, Oleh Krysa, Mikhail Kopelman, Midori, Peter Rejto, and members of the American and Borromeo Quartets. As a chamber musician, he has appeared with members of the New York Philharmonic, Metropolitan Opera Orchestra, the Orchestra of St. Luke's, New York City Ballet Orchestra, the Detroit Symphony, and the Boston Symphony, in venues including Lincoln Center, Carnegie Hall and the Metropolitan Museum of Art in New York.

Composer Edward Smaldone's works featured on two new releases

Featuring performances by sopranos Tony Arnold and Susan Narucki, Tara Helen O’Connor (flute), Charles Neidich (clarinet), Marcy Rosen (cello), and more

The composer Edward Smaldone is featured on two new albums; "Once and Again" on New Focus Recordings (released August 15, 2020 FCR258) and "Double Portrait" on Ablaze Recordings (released June 19, 2020 AR00053).

"a modernist that doesn't need pots and pans to make his point. An artist through and through" - Midwest Record

"Once and Again" is a collection of chamber music, including song cycles and instrumental works that encapsulate Edward Smaldone's diverse sources of inspiration - from Duke Ellington to Monteverdi. The five works on this CD range from 1986-2014, and were 'tinkered with' over a number of years. "Each piece was thus visited once and again," says Mr. Smaldone. "Once and again is also a feature of the two song cycles whose texts have been recycled and repurposed for inclusion in these compositions."

"Once and Again" features performances by sopranos Tony Arnold and Susan Narucki, alongside prominent contemporary chamber instrumentalists including Tara Helen O’Connor (flute), Charles Neidich (clarinet), Daniel Phillips (violin), Marcy Rosen (cello), and more. Works include Cantare di Amore for soprano, flute, and harp, Double Duo for flute, clarinet, violin, and cello, Letters from Home soprano, flute, clarinet, and piano, and Duke/Monk for clarinet and piano. Program details and links to digital materials are below.

"Smaldone has a gift for connecting one phrase with another, even one note with another, so that you get wrapped up in the music" - Fanfare

"Double Portrait" is a 2-CD set pairing the music of composers Douglas Knehans and Edward Smaldone. Featuring performances by members of the new music ensemble All of the Above, Smaldone's program includes intimate chamber works from the flute, cello, and piano trio, Rituals: Sacred and Profane, to the solo piano work, Three Scenes from the Heartland. Program details and more resources are below.

"In 2017 Douglas Knehans invited me to be a visiting composer at the University of Cincinnati College-Conservatory of Music. To celebrate this visit, we coordinated a shared concert of music featuring most of the works on this current disc and played by the new music ensemble, All of the Above. The program was performed again in Ohio, as well as at the Cortona Sessions in Italy, and in New York City at Carnegie Hall's Weill Recital Hall and the DiMenna Center. Through these collaborations we have both recognized an unusual complimentary quality to our distinctly different music." - Edward Smaldone

New Recordings featuring works by Edward Smaldone

"Once and Again"

New Focus Recordings

FCR258

Released August 14, 2020

Download the cover art

Read the liner notes

1-3) Cantare di Amore

Tony Arnold, soprano; Tara Hellen O'Connor, flute; June Han, harp

4) Double Duo

Tara Helen O'Connor, flute; Charles Neidich, clarinet; Daniel Phillips, violin; Marcy Rosen, cello

5-10) Letters from Home

Susan Narucki, soprano; Judith Mendenhall, flute & piccolo; Charles Neidich, clarinet & bass clarinet; Donald Pirone, piano

11-12) Duke/Monk

Charles Neidich, clarinet; Morey Ritt, piano

13) Sinfonia

The Brno Philharmonic Strings, Mikel Toms, conductor

"Double Portrait"

Ablaze Records

AR00053

Released June 19, 2020

Download the cover art

Read the liner notes

1) Rituals: Sacred and Profane

Nave Graham, flute; Yijia Fang; cello; Matthew Umphreys, piano

2-4) Suite

Scott Jackson, violin; Matthew Umphreys, piano

5-7) Three Scenes from the Heartland

Matthew Umphreys, piano

8) Double Duo

Nave Graham, flute; Mikey Arbulu, clarinet; Scott Jackson, violin; Yijia Fang; cello

American composer Edward Smaldone has established an impressive international career garnering numerous awards, commissions, performances, and recordings.

Smaldone’s 2019 commission, Murmurations (clarinet concerto) was premiered in Copenhagen by Søren-Filip Brix Hansen and Den Kongelige Livgardes Musikkorps, (the Wind Orchestra for the Queen of Denmark). His piano concerto, Intersecting Paths, for Niklas Sivelöv and the League/ISCM Orchestra, is scheduled to premiere in New York City in 2021.

Edward Smaldone was named 2016 “Composer of the Year” by the Classical Recording Foundation in New York, and was awarded the Goddard Lieberson Award by American Academy of Arts and Letters in 1993. He has received additional awards from ASCAP, the MacDowell Colony, Yaddo Corporation, the Charles Ives Center for the Arts, the Percussive Arts Society, and the American Music Center. Smaldone is Professor of Music Theory and Composition at the Aaron Copland School of Music, Queens College, since 1989 and was the Director of the School from 2002 to 2016. His music is recorded on the New Focus, CRI, New World, Capstone, Ablaze and Naxos labels.

Violist Georgina Rossi releases debut recording: “MOBILI: Music for Viola and Piano from Chile”

Featuring world premiere recordings of works by Chilean composers including Rafael Díaz, Carlos Botto, Federico Heinlein, David Cortés, and a special tribute to Juan Orrego-Salas

Release date: October 9, 2020 on New Focus Recordings

"Sixteen days before Silvie and I walked into the studio for our first day of recording, the composer Juan Orrego-Salas passed away. I carried that sorrow into the studio alongside his score in my hands and remember feeling an intense gratitude for his music, as well as a huge responsibility," reflects violist Georgina Rossi on the recording of her debut CD, “MOBILI”. It is a project that is both deeply personal for Ms. Rossi, and groundbreaking for the compositional voices of Chile, as it is the first ever album dedicated to Chilean music for viola.

Together with award-winning pianist Silvie Cheng, Ms. Rossi – who herself was born and raised in Santiago – performs the world premiere recordings of works by Rafael Díaz, Carlos Botto, Federico Heinlein, and David Cortés. The title track of the album comes from Juan Orrego-Salas’ MOBILI for viola and piano. One of Chile’s foremost composers, Juan Orrego-Salas taught at Indiana University’s Jacobs School of Music for 25 years, where he founded the Latin American Music Center in 1962. Orrego-Salas was passionately dedicated to encouraging Chilean cultural engagement, and was awarded the Chilean National Prize for the Arts in Music in 1992. Recorded in honor of his centennial, this album is dedicated to his memory. "MOBILI" is released on New Focus Recordings (FCR268) on October 9, 2020; an LP version is scheduled for release early next year.

Composed for both Ms. Rossi and her mother, Penelope Knuth, Rafael Díaz’s Will There Be Someone Whose Hands Can Sustain This Falling for amplified viola is guided by the prayer-songs of indigenous peoples in the Andes which the composer collected during ethnomusicological fieldwork. Díaz’s other work on the album, In The Depths of My Distance Your House Emerges, is the sound image of a decades-old memory – the composer walking to school in Chilean Patagonia.

Carlos Botto’s Fantasia para viola y piano, Op. 15 reveals a spontaneous and independent personality. Its wandering musical ideas develop leisurely, moving through contrasting tempi and frequent changes in character. Federico Heinlein’s output reflects his unique German-Hispanic background, diverse influences, and a lifelong passion for poetry, as with his Duo for viola and piano, on whose score the composer noted, “Do not go gentle,” a reference to the poem by Dylan Thomas. David Cortés was inspired by the astronomical wonders of the Cerro Tololo Inter-American Observatory in his Tololo. In the words of the composer, “Tololo is an homage to the Coquimbo region. The sounds, landscapes, and sensations that belong to it define me both as musician and individual.”

“MOBILI: Music for Viola and Piano from Chile”

Georgina Rossi, viola

Silvie Cheng, piano

World premiere recordings of works by Chilean composers

New Focus Recordings FCR268

Release date: October 9, 2020

TRACKS

Rafael Díaz

¿Habrá alguien que en sus manos sostenga este caer? 10:40 LISTEN

for amplified viola

Al fondo de mi lejanía se asoma tu casa for viola and piano 6:01

Carlos Botto

Fantasía op.15 for viola and piano 9:25

Federico Heinlein

Dúo “Do not go gentle” for viola and piano 9:48 LISTEN

David Cortés (arr. Miguel Farías)

Tololo for viola and string orchestra 11:25

Juan Orrego-Salas

Mobili op.63 for viola and piano

6 Flessibile 4:29

7 Discontinuo 2:50

8 Ricorrente 7:18

9 Perpetuo 3:13

Carlos Guastavino (arr. Kim Kashkashian, Robert Levin)

10 El Sampedrino 3:48

Chilean-American violist Georgina Isabel Rossi has performed as soloist with the Orquesta Sinfónica Uncuyo, in Mendozaand the Orquesta de Cámara de Chile, and enjoys a varied career on stage in North and South America. Santiago-born, she moved to Michigan on a Chilean national grant at sixteen to study at Interlochen Arts Academy. Ms Rossi is a member of the Hartford Symphony Orchestra, and a Fellow of the Toronto and Bowdoin Summer Music Festivals. She holds a Master of Music degree from The Juilliard School, where she studied with Roger Tapping, and a Bachelor of Music from the Manhattan School of Music, where she was a student of Karen Dreyfus and Daniel Avshalomov. Ms. Rossi plays a 2014 viola made by Leonardo Anderi in Buenos Aires and an 1820 bow by Carl Wilhelm Knopf. Based in New York City, Ms. Rossi is also a visual artist and focuses on draftsmanship. 

Lauded for her “extraordinarily varied palette” (WholeNote Magazine) and “purely magical” playing (New York Concert Review), Tokyo-born Chinese-Canadian pianist Silvie Cheng illuminates musical works with her exquisite touch at the keyboard. Since her Carnegie Hall solo debut in 2011, she has performed internationally as a recitalist, collaborative pianist, and soloist including at New York's Steinway Hall, Merkin Hall, Brussels' Flagey Hall; Shanghai's Poly Theatre; South Korea's Alpensia Concert Hall, among many other acclaimed venues, and with Symphony Nova Scotia, the New Amsterdam Symphony Orchestra and other ensembles. Her awards include top prizes at the Thousand Islands and Heida Hermanns International Piano Competition, the Canadian Music Competition National Finals, the Ontario Music Federation Association Competition, and the Lillian Fuchs Chamber Music Competition.