Includes work(s) by Morton Subotnick. Ensemble: Southwest Chamber Music Society.

Songs of Madeleine Dring

Thomas, T.: Recorded Legacy of A World in Turmoil (The) (191

Powell, D.: Hollywood Hotel

Bland, E.: Piece for Chamber Orchestra / for Bassoon / Sketc

Kraft, W.: Concerto for 4 Percussion Soloists / Contextures

Piano Recital: Waites, Althea - PRICE, F.B. / STILL, W.G. /

Piano Recital: Crossan, Richard - RAVEL, M. / SCOTT, C. / DE

Warren, E.R.: Vocal Music

Vaughan, C.: Oriental Translations for Denishawn / Violin Co

Cambodian composer Chinary Ung was an extreme disadvantage in terms of his musical background; the only Western instrument he was able to study in his native Cambodia was the E flat clarinet, which he learned well enough to enter the Manhattan School of Music in 1964. Since earning his doctorate in music composition at Columbia in 1974, Ung has largely made his career in the United States as a teacher and, partly owing to that, missed the genocide conducted in his home country, although most of his family was not so fortunate. After taking most of the 1980s off to retrieve what he could of Cambodia's seriously endangered traditional music, Ung returned to the United States, his music and perspective forever changed. Prior to October 2007, Ung's highest profile CD release had been the inclusion of his Inner Voices on an Argo disc conducted by Dennis Russell Davies. Jeff von der Schmidt's expert group Southwest Chamber Music, which has already done so much on behalf of Mexican composer Carlos Chávez, now turn its attention to Ung on the Cambria disc Chinary Ung: Aura, Oracle, Still Life After Death.

In the three works mentioned in the front title, composed between 1995 and 2006, Ung creates a seamless merger between the capabilities of Western instruments, contemporary techniques, and the influence of the traditional music of his homeland. The pieces are highly theatrical, with Still Life After Death described as "a small theater work [...] inspired by an ancient Cambodian ritual." Such rituals are closely tied with Buddhism; Aura utilizes two sopranos, singing high-flying passages in Pali and Khmer, floating over a chamber orchestra in which nearly everyone is required to play additional percussion instruments, including bowed crotales, little cymbals common to the ancient world. Current events figure into Ung's texts and music as well; a portion of Aura is a commemoration of the devastation left by Hurricane Katrina, whereas the oracles consulted by the Dalai Lama before his final departure from Tibet is a significant element in the second work, Oracle.

In preparation for his work with Ung, Jeff von der Schmidt himself traveled to Cambodia and Vietnam and toured Angkor Wat; Southwest Chamber Music was the first professional ensemble to perform Ung's music in Cambodia for Cambodians. Its polished, dedicated performances here well-represent Ung's music, and as with the Chávez issues, Cambria's recording here is top quality. There is every reason to support Cambodian culture; at least 3,000 years old, Pol Pot and the Khmer Rouge nearly wiped it off the face of the earth. Nevertheless, that is not the only reason to listen to the music of Chinary Ung; he is an excellent, visionary composer, and his work speaks eloquently about his people and the need to rebuild.

-- Dave Lewis, All Music Guide

Linn, R.: Divertimento for Oboe, 2 Horns and String Quintet

LEVITCH, L.: String Quartet No. 1 / Quartet, Op. 3 / Quintet

In their fourth release with the African American Composer Initiative (AACI), Cambria is excited to announce a new recording featuring amazing works from a variety of inspiring African American musicians and composers. The AACI is dedicated to sharing the art of living and historical African American composers to the ever-expanding musical world. The spirituals and art songs in this presentation remind us of the importance of the African American contribution to the tapestry of artistic expression that exists in the United States. With an indelible connection to and inspiration from the continent of Africa, spirituals like the ones represented here are just as relevant today as they were when they were created long ago. All the art songs in this album show the beauty and sensitivity that American composers of African descent can access, interpret, and share with the world.

DERBY, R.: Quintet for Flute, Strings and Piano / Duo for Ho

Cello Recital: Munguia, Gilberto – VILLA-LOBOS, H. / CASSADO

Arni Egilsson has earned an international reputation as a double bass soloist, having performed in his native Iceland, all of Europe and throughout the United States. He was brought to the United States by the late Sir John Barbirolli to play with the Houston Symphony Orchestra. While there, he established an enduring relationship with Andre Previn. A versatile instrumentalist, equally comfortable in jazz and classical venues he has recorded a classical solo album with Vladimir Ashkenazy and a jazz classical album with Ray Brown. Egilsson is highly regarded as a leading session player in the orchestras of the Los Angeles recording studios serving as Principal bass player for most of Hollywood's top composers. He has been a Professor of Double Bass at California State University, Northridge and in recent years has become well-known as a composer of works for double bass, chamber ensemble and symphony orchestra as well as for solo voice and chorus.

Includes work(s) by Domenico Scarlatti, Wolfgang Amadeus Mozart, Frédéric Chopin. Soloist: William Wellborn.

This CD consists of the albums THE JANET LAWSON QUINTET and DREAMS CAN BE, originally released in 1981 & 1983 respectively.
Janet Lawson Quintet: Janet Lawson (vocals, percussion); Roger Rosenberg (saxophone, flute); Bill O'Connell (piano); Ratzo B. Harris (bass); Jimmy Madison (drums).
Producers: Jack Perricone, Bill Goodwin, Chris Fichera.
Compilation producer: Jeannie Pool.

The Compinsky Trio was one of the finest chamber ensembles of the 20th century. Born and educated in England, the two brothers (Manuel, violin; Alec, cello) and a sister (Sara, piano) were brought up together in an atmosphere of broad and intense musical culture and were taught from early childhood the traditions of ensemble playing which they developed to new heights of excellence; their musicianship set standards that have not since been surpassed. After arriving in the United States around 1925, the Compinsky Trio began touring the East coast and Canada. In 1928, they were engaged for a series of radio broadcasts over the newly organized Columbia Broadcasting System, one of America's first nationwide radio networks. The trio was featured every Sunday for a period of eight years, broadcasting live nationwide. The pioneering Compinsky Trio broadcasts had a profound influence during the late 1920s and early 1930s. They elevated performance standards for chamber music to new artistic heights, increased public awareness of the chamber music medium, and introduced to amateur performers throughout the country superb performances of the standard repertoire as well as first hearings of many contemporary works. For the next thirty years, the microphone became a faithful friend to the Compinsky Trio as they continued to win new audiences for chamber music. "They were all devoted teachers. I am grateful especially for Manuel's guidance and support. He coached me as a lad in many of my first chamber music concerts and greatly encouraged my interest in conducting. I am happy that these vintage performances which meant so much to many generations of Los Angeles' music lovers will be available again." Michael Tilson Thomas, Musical Director, San Francisco Symphony Orchestra. "I consider myself extremely fortunate to have studied with Manuel Compinsky. I know that he deserves much of the credit for what I have become in my musical life. He was certainly one of the most inspirational and extraordinary musicians I have ever known. A superb violinist as well as a magnificent teacher, he was also a great chamber musician and a composer and arranger that commanded much respect." Glenn Dicterow, Concertmaster, The New York Philharmonic Orchestra.

Cambria's new release further explores the chamber music of Arni Egilsson and features as its signature work a powerful testament to the memory of the children that have fallen victim to violence; an issue that is sadly ever-present in our society. From the Rainbow with a text by the composer's wife, poet Dorette Egilsson, is scored for two child narrators and string ensemble. "The work is a powerful kaleidoscope of emotions that takes the listener into the souls of parents who have lost a child. The music lets one experience the initial shock and the turbulent screams of denial with its mind loosing madness of "Why???! - of innocent memories of playful times always overshadowed by sad anguish - a melodic children's tune adding to the finality of what will never be again - the voices of the children coming from the rainbow and talking about nature's wonders, that they will never experience." Additional works on the disc include A Tale of Yore for piano quintet; Sextet; and Impressions for string quintet. Egilsson has earned an international reputation as a double bass player and is equally comfortable in jazz and classical venues. In recent years he has also become well known as a composer. This is the third CD of his music on Cambria. CB1033 is of more chamber music and CB1102 is a jazz title.

Schuller, G.: Suite for Wind Quintet / Piston, W.: Wind Quin

STILL, W.G.: Lenox Avenue / Pastorela / Here's One / Song Fo

New Friends / Old Friends

Cambria Master Recordings is pleased to announce Where Freedom Rings - the title of AACI's new album showcasing compositions by four contemporary African American composers: Regina Baiocchi, Valerie Capers, Joshua McGhee, and John Robinson. Included are new works by Valerie Capers: Ruby, a "docu-cycle" and two songs to texts of Abbey Lincoln; three new chamber works by Joshua McGhee; a new piano trio and newly arranged piano duets by John Robinson; and solo piano and vocal/chamber music by Regina Baiocchi. The works by Capers, McGhee, and Robinson are AACI commissions, new additions to the chamber music repertoire. Performers on the album are soprano Yolanda Rhodes, pianists Josephine Gandolfi, LaDoris Cordell, and Deanne Tucker, Picasso Ensemble: violinist Susan C. Brown, cellist Victoria Ehrlich, pianist Josephine Gandolfi; flutist Stephanie McNab, bassoonist Douglas Brown, clarinetist Carol Somersille, trumpeter John Worley, trombonist John Monroe, bassist John Robinson, percussionist Jim Kassis, and vocalist LaDoris Cordell. The musicians are all members of the African American Composer Initiative (AACI), a group of classical and jazz singers and instrumentalists of the San Francisco Bay Area, and distinguished guest artists. AACI is dedicated to preserving the rich bounty of music by African American composers, historical and contemporary. Through live concerts of piano, vocal, and chamber music and an extensive website of video performances and publication information, AACI strives to increase awareness of this vast repertoire among the listening public and performing musicians alike, with the hope of sparking further explorations and performances.