Emily Mitchell enjoyed a 30-year career in New York City where she was principal harpist for the incomparable Eos Orchestra working closely with many of today’s most active composers. She was an established name in the television, motion picture and recording studios performing on numerous film scores and radio and television commercials. Ms. Mitchell has toured the United States as a soloist for Columbia Artists Management. In this recording she explores the works of composer Gary Schocker, one of today's most prolific and well known composers.

Classical Music

Classical Music

A CD release of three works of chamber music celebrating American composer Ellen Taaffe Zwilich. The Kalichstein-Laredo-Robinson Trio's more than thirty years together began with their debut at President Jimmy Carter's inauguration. They remain one of America's finest, internationally renowned ensembles. A quartet for more than twenty years, the Miami String Quartet's programatic diversity, performance poise and musical clarity have kept them at the forefront of today's quartet ensembles.

REVIEWS:

Realizing that the technical proficiency of double bass players is nowadays considerably enhanced from what it was in Schubert’s time, Zwilich makes use of the player as an equal partner in the proceedings. That fact alone gives the work a sonorous characteristic that exceeds that of not only Schubert’s chamber work, but of other contemporary chamber pieces that lack the double bass. The opening movement is very vigorous and rhythmic, with the instruments given energetic licks that are tossed around among them. The second movement is much more subdued, and has a good bit of a bluesy atmosphere to it. At around the 2:35 mark, the movement momentarily sounds as if it is about to break into a Piazzolla tango of some sort. That feeling persists longer in the energetic third movement, which has tango-like harmonies and gestures throughout a good portion of its duration. These are displayed over a walking line in the pizzicato bass. In short, this quintet is the jazziest work that I can recall hearing from the pen of this composer.

At the antipodes of the chronology of the works on this CD is the 1987 Piano Trio. The vigorous opening of the work sounds very much like the ending of the previous work minus any of the jazz sonorities. Four-note scalar ostinatos are also very prominent in this movement. Some of these are quite dissonant, but Zwilich has always had the gift of making dissonance acceptable to listeners who might otherwise be bothered by it. The second movement opens with a whisper in the violin, playing without vibrato. Soon, the cello joins in for a short duet between the two instruments which is underpinned by repeated and static chords in the piano. The free rhapsodic nature of the movement continues throughout its duration, with many contrasts in mood and register of the instruments employed. The trio ends with a short presto movement that opens with a cascade of notes in the piano, and gives all three of the instruments a good workout, even though the pace of the piece occasionally lets up.

As at the beginning of the trio, the septet almost sounds like a continuation of the previous piece, since it begins with a very similar sonority to that of the ending of the trio. It quickly becomes apparent that this 2008 composition is scored for a larger ensemble, as there are more simultaneous lines and effects going on. The scoring combines the traditional piano trio with the string quartet. The powerful opening movement is very extroverted in its demeanor, quite a contrast to its second movement, “Quasi una Passacaglia,” that opens with a single mysterious line, quite reminiscent of certain passages in Bartók’s Music for Strings, Percussion and Celesta, or his sonata for two pianos and percussion. This is especially true in the way it “fills in” the chromatic notes that span a particular interval in a non-scalar way, one of the trademarks of the Hungarian master’s style. Pizzicato strings both close the second movement and open the third movement, “Games.” The latter is a spiky exercise, full of good humor, and jazz sonorities and syncopations. The work (and CD) concludes with “Au revoir,” a movement that is by turns nostalgic and full of energy, but the former mood being the prevailing one. The key of A Minor is prominent throughout, and the piece ends with a pianissimo sustained unison on that note.

All three of these works are presented in splendid fashion by the combined forces of the Kalichstein-Laredo-Robinson Trio and the Miami Quartet, with violist Michael Tree and bassist Harold Robinson assisting in the quintet...[the performers] capture every mood and nuance in these masterful works by one of America’s leading compositional lights. Recommended, then, on every level as an essential acquisition for your collection of contemporary chamber music.

-- FANFARE (David DeBoor Canfield)

Hailed as "an extraordinary virtuosa" and "sheer luminescence at the harp," Kondonassis has performed around the globe as a concerto soloist and in recital, bringing her unique brand of musicianship and warm artistry to an ever-increasing audience. Her second release for Azica Records features three world premiere recordings of works by Liebermann, Lash and Paulus. "Miraculous is Kondonassis' playing. " ClassicsToday.com "Harp playing doesn't get much better than this. " Fanfare Track Listing: The Lanes of Limerick (1999) by John Williams � Bagatelles (1969) by Norman Dello Joio � in a Landscape (1948) by John Cage � Bariolage (1992) by Elliot Carter � World Premiere Recordings: Stalk (2008) by Hannah Lash � Music for Harp, Op. 116 (2001) by Lowell Liebermann � Berceuse (1983) by Stephen Paulus �.

Virtuoso bandoneon, accordion, and accordina player Julien Labro is one of today’s most versatile musicians. Sought after by jazz and classical musicians alike, here he pairs with the progressive classical ensemble Spektral Quartet for a crossover project containing classical, jazz and latin elements. Founded in 2010, the Spektral Quartet’s forward-thinking reportorial choices and approach to performance has earned it a wide and loyal following.

Classical Music

Grammy Award winner Jason Vieaux joins forces with the esteemed Escher Quartet to produce a recording with some new and old works with dance themes in common. These three works may share elements of dance-inspired music, and contain actual allusions to specific dances in the titles (or expressive markings) of certain movements, but that is where the similarities end. These guitar quintets, all from very different periods, couldn’t be any more different from each other in style, timbre, texture and dynamics. They show the musical range and flexibility of the guitar within a more traditional chamber music group setting.

Classical Music

Lowak Shoppala' (Fire and Light) is a work that expresses Chickasaw identity through the medium of modern classical music and theatre. The work is in eight scenes and features orchestra, narration, children's chorus, traditional Chickasaw and modern dancers, traditional Chickasaw and classical vocal soloists and American Indian storytellers. Each scene depicts a part of Chickasaw culture and history. Lowak Shoppala' was conceived, designed and composed by Jerod Impichchaachaaha' Tate and premiered Saturday, November 21, 2009 at the Te Ata Theatre, East Central University, Ada, Oklahoma with Mr. Tate conducting the Oklahoma Youth Orchestra.

Fernando Suarez Paz joined the Quinteto Nuevo Tango at the request of Astor Piazzolla in 1978, and he toured with the ensemble until their disbandment in 1988. In his decade of performing alongside Piazzolla, Paz recorded 18 albums all over the world. The first track on this album, Escualo by Piazzolla, is dedicated to Fernando Suarez Paz. The New York Times gave Paz a 7-star rating after his performances alongside vibraphonist Gary Burton at various jazz festivals across Europe, Japan, and the United States. Fernando’s son, Leonardo Suarez Paz is featured on this release. Leonardo grew up alongside Astor Piazzolla and was mentored by both Piazzolla and his father. He directs tango projects all over the globe, and his productions have appeared in such venues as the Lincoln Center in New York, and the Teatro Colon Opera House in Buenos Aires.

American pianist Timothy Ehlen continues his prolific recording career with this offering of the music of Johannes Brahms. Mr. Ehlen, Professor of Piano at the University of Illinois in Urbana-Champaign, has performed extensively in the United States and Europe as a soloist and chamber player. He first gained international attention after winning the World Piano Competition in 1987; after his subsequent debut in Lincoln Center at Alice Tully Hall in 1988, the New York Times raved that his "playing was filled with elegant personality... recalled bygone artists like Robert Casadesus and, especially Walter Gieseking in their mastery of both 18th century and impressionist music... immaculate technique." The Pro Piano Recital Series sponsored his 1997 recital in Weill Hall at Carnegie Hall, which the New York Concert Review hailed as "... an absolutely remarkable tour-de-force." Recitals in France, Germany and Korea have received a similarly enthusiastic response. Mr. Ehlen has recorded the complete Beethoven Piano Sonatas for the Azica label. After the release of volume III, Fanfare Magazine wrote: "... I have the feeling that the cycle with the richest rewards will turn out to be the Ehlen."

The word “fusion” as a musical genre identifier, is a loaded term. At worst, it conjures images of endlessly self-indulgent electric guitar solos, overactive drummers buried deep behind epic drum kits, and seven string electric basses strapped up way too high. At best, it has given us timeless albums that were more sui generis than the mere mashup of distinct styles that it implies. With their album Infusion, Jason Vieaux and Julien Labro suggest a subtle alternative path to stylistic integration; the effectively present several diverse performance approaches all under a concert music umbrella. Taking a staple of modern guitar chamber repertoire like Radames Gnattali’s Suite Retratos and infusing it with aspects of different improvising traditions leaves Gnattali’s structural context in place. In their arrangement of the Tears for Fears classic, “Everybody Wants to Rule the World,” Vieaux diligently reproduces various components of the multi-track original while infusing it with a soloing approach drawn from jazz. In Labro’s arrangement of Piazzolla’s “Escualo,” the two infuse the song with contemporary references that blend with the original material. Also featured is Leo Brouwer’s Tres Danzas Concertantes, which has been adapted by Julien Labro for this recording. Brouwer has drawn from Afro Cuban sources throughout his career, infusing his concert music with the vibrant rhythms and characteristic harmonic flavors of his native culture.

The award winning Aeolus Quartet offers the second installment in their Many-Sided Music Project, Ariel and Other Poems. This ongoing project collects distinctive voices of American composers, combining the classic with the modern. Ariel and Other Poems takes its name from the original title of Sylvia Plath's last manuscript. The poems contained therein include the work that inspired Christopher Theofanidis' Ariel Ascending, and joined by the rich expansive tones of the Copland, the buzzing electricity of the Mazzoli, and the deep catharsis of the Barber, the album Ariel and Other Poems seeks to offer a small sampling of the multi-faceted collection of American chamber music.

Grammy winning guitarist David Russell joins Azica Records as releases his latest album of contemporary works written just for him. Classical guitarist David Russell is world renowned for his superb musicianship and inspired artistry, having earned the highest praise from audiences and critics alike. In recognition of his great talent and his international career, he was named a Fellow of The Royal Academy of Music in London in 1997. In May 2003 he was bestowed the great honor of being made "adopted son" of Es Migjorn, the town in Minorca where he grew up. Later the town named a street after him, "Avinguda David Russell". David Russell spends his time touring the world, appearing regularly at prestigious halls in main cities, such as New York, London, Tokyo, Los Angeles, Madrid, Toronto or Rome. Concert-goers everywhere are in awe of his musical genius and inspired by his captivating stage presence. His love of his craft resonates through his flawless and seemingly effortless performance. The attention to detail and provocative lyrical phrasing suggest an innate understanding of what each individual composer was working to achieve, bringing to each piece a sense of adventure.

Classical meets Christmas in this latest offering from the Burning River Brass. Beautifully arranged Christmas favorites from this tremendous group of brass and percussion! Since 1996, Burning River Brass has been dazzling audiences from Alaska to Taiwan with "power and virtuosity," "harmonious blend," and "consistently stirring performances." Composed of twelve of the finest brass and percussion players in the country, Burning River Brass is an ensemble on fire! The original inspiration behind Burning River Brass was to give great players who were also good friends a chance to play together on a consistent basis. Soon after the first rehearsal in May 1996, BRB began to grow rapidly. The ensemble made its debut in September of 1996 in Tremont, Ohio under the auspices of Arts Renaissance Tremont and by 1998 was touring nationally.

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REVIEW:

The centerpiece is Burning River Nutcracker, swinging arrangements of six selections from the ballet. I admit to curmudgeonly skepticism when it comes to this sort of thing, but these readings won me over with lively, skillful, and tasteful playing.

– American Record Guide

“It cannot be easy to write for solo piano: so many magnificent sounds of the 18th and 19th centuries abide in the ears of today’s pianists and concertgoers. By including some of my favorite Chopin miniatures alongside three major piano pieces from the 1990’s, I could well stand accused of an all-too-common reluctance to break from the past. I prefer to treat with this vexed situation pragmatically, acknowledging the reality that most of my listeners will perceive the new refracted through the lens of the old, and that some will simply be more inclined to keep listening when given a dose of the familiar together with the strange. All three recent works recorded here bear some imprint of the pianistic past—each in a different way—and yet all three successfully outrun it.” (Thomas Saur)

The Morgenstern Trio's second release for Azica Records highlights their passion for music with works by Frank Bridge, a new work composed for the trio by Pierre Jalbert, Ernest Bloch, and Ilham Baran. To name a piano trio after the popular nineteenth century German poet Christian Morgenstern was the inspiration of Catherine Klipfel, piano, Stefan Hempel, violin, and Emanuel Wehse, cellist, who met during their studies at the Folkwang Conservatory in Essen, Germany. After only two short years of working together, the Morgenstern Trio emerged on the German Music Scene by being awarded top prizes and awards, such as the prestigious US Kalichstein-Laredo-Robinson Trio Award in 2010. The Washington Post wrote: "the group displayed a unanimity, polished technique and musical imagination that I thought had vanished from the scene with the demise of the Beaux Arts Trio".

Classical Music

STRUM: MUSIC FOR STRINGS is the first album dedicated solely to the music of Jessie Montgomery and marks her debut as a leading composer and performer. Jessie has been recognized as an important emerging composer by the American Composers Orchestra, the Sphinx Organization, the Joyce Foundation and the Sorel Organization through generous grants and fellowships that support and promote her works.

Jerod Impichchaachaaha' Tate was born in 1968 in Norman, Oklahoma, and is a citizen of the Chickasaw Nation. Mr. Tate is dedicated to the development of American Indian classical composition, and a recent review by The Washington Post states that “Tate’s connection to nature and the human experience was quite apparent in this piece…rarer still is his ability to infuse classical music with American Indian nationalism.” This review was a response to a performance of Iholba’ (The Vision), for Solo Flute, Orchestra and Chorus, which was commissioned by the National Symphony Orchestra and premiered at the Kennedy Center for the Performing Arts.

In 2006, Mr. Tate was the recipient of the Joyce Award which supported the commission of Nitoshi’ Imali, Concerto for Guitar and Orchestra, which premiered in 2007 with soloist Jason Vieaux and the Civic Orchestra of Minneapolis, conducted by Cary John Franklin. His new work for orchestra and children’s chorus, commissioned by the American Composers Forum Continental Harmony Project, celebrates the opening of the new Chickasaw Cultural Center in Sulphur, Oklahoma. Mr. Tate received his BM in Piano Performance from Northwestern University where he studied with Dr. Donald J. Isaak. He then completed his MM in Piano Performance and Composition at the Cleveland Institute of Music where he studied with Elizabeth Pastor and Dr. Donald Erb. Shortly after beginning his piano studies at the Cleveland Institute of Music, Jerod’s first composition, Winter Moons ballet score, was commissioned by Dr. Patricia Tate and premiered at the University of Wyoming in 1992. Colorado Ballet subsequently performed it in 1994 and 1996.

Since then, Tate has received numerous commissions and his works have been performed by the National Symphony Orchestra, Minnesota Orchestra, the Buffalo Philharmonic Orchestra, the Colorado Ballet, The New Mexico Symphony, the Contemporary Music Forum, Dale Warland Singers, the New Jersey Chamber Music Society and the Oklahoma City University Wind Philharmonic, to name a few. Mr. Tate is Artistic Director for the Chickasaw Chamber Music Festival. He is Composer-in-Residence for the Chickasaw Summer Arts Academy and was Composerin- Residence for the Grand Canyon Music Festival’s Corn CribNative American Composer Apprentice Project in 2004 and 2005. In 2007, he was Composer-in-Residence for The Joyce Foundation/American Composers Forum, teaching composition to American Indian high school students in Minneapolis. Mr. Tate received the 2006 Alumni Achievement Award from the Cleveland Institute of Music and has also received awards from Meet the Composer and the Percussive Arts Society. He is happily married to Ursula Running Bear, an enrolled member of the Rosebud Sioux Tribe (Sicangu Lakota). Mr. Tate’s middle name, Impichchaachaaha’, means “high corncrib” and is his inherited traditional Chickasaw house name. A corncrib is a small hut used for the storage of corn and other vegetables. In traditional Chickasaw culture, the corncrib was built high off of the ground on stilts to keep its contents safe from foraging animals.

The Jupiter String Quartet feels a strong connection to the core string quartet repertoire. they also frequently commission and premiere new works, including string quartets by Syd Hodkinson, Hanah Lash and Dan Vixconti, as well as a quintet with vocalist Thomas Hampson. This release has a well-known classic by Dvorak, an arrangement of African-American spirituals and a contemporary reflection on the music of Tin Pan Alley.

The traditional songs of the Christmas holiday are offered here by the Salzedo Harp Duo, their third release on Azica Records. The Salzedo Harp Duo, named after groundbreaking composer Carlos Salzedo, is Jody Guinn and Nancy Lendrim. Jody Guinn has been the principal harpist of the Akron Symphony Orchestra and the Cleveland Opera since 1984. She has been substituting or playing extra harp with the Cleveland Orchestra since 1986. Guinn shares her love of the instrument with several private students and is on the harp faculty of colleges across the region. Jody Guinn has been the principal harpist of the Akron Symphony Orchestra and the Cleveland Opera since 1984. She played for the Cleveland Ballet and the Ohio Chamber Orchestra for 16 years while both organizations were in existence in Cleveland. She has been substituting or playing extra harp with the Cleveland Orchestra since 1986 including multiple tours to Europe, New York City’s Carnegie Hall and Washington D.C.’s Kennedy Center.

Classical Music

Performed by the trio for whom it was written, Paul Schoenfield's new composition "Last Silence" picks up where "Cafe Music" left off. A show stopping tour de force of excitement and emotion. Schoenfield's "Four Souvenirs" is finally released here by violinist Lev Polyakin and pianist Frances Renzi, who commissioned the work. Beautiful trios by Rota and Cui round out the album. Paul Schoenfeld‘s music is widely performed and continues to draw an ever-expanding group of fans. According to Juilliard’s Joel Sachs, “he is among those all-too-rare composers whose work combines exuberance and seriousness, familiarity and originality, lightness and depth. His work is inspired by the whole range of musical experience, popular styles both American and foreign, vernacular and folk traditions, and the ‘normal’ historical traditions of cultivated music making, often treated with sly twists. Above all, he has achieved the rare fusion of an extremely complex and rigorous compositional mind with an instinct for accessibility and a reveling in sound that sometimes borders on the manic.”