Curt Cacioppo is a composer whose expressive power and emotional appeal continue to captivate listeners and performers worldwide. A person of great human feeling, he derives inspiration from sources as diverse as the medieval poetry of Dante, aspects of Native American culture, or the vernacular American music he grew up with. His creative work is founded upon a virtuoso background of solo and collaborative piano playing, and he pursues an active role as pianist on stage and in recording. An engaging speaker and writer on a wide variety of musical topics, he is able to communicate his enthusiasm for the art to a broad constituency.
His distinctive voice attracted national attention in a 1997 lifetime achievement award from the American Academy of Arts and Letters, an honor conferred in the past upon such recipients as Leonard Bernstein, William Schuman, and Gian Carlo Menotti. With commissions both domestic and international, he has written for the Chicago Symphony and Milwaukee Symphony orchestras, the American Composers Orchestra, the Philadelphia Classical Symphony, the Network for New Music and Lyric Fest (Philadelphia), the Yale Symphony, the Bach Society Orchestra of Harvard, the Carmel Back Festival, the Emerson, American, Moscow and Borromeo string quartets, the New York Chamber Brass, the Quartetto di Venezia, the Nuovi Spazi Musicali series in Rome, the International Venice Festival, the Duo Alterno of Turin, the Settimana Organistica Internazionale of Piacenza, and other fine ensembles and soloists. Having completed his String Quartet No. 6 for the Quartetto di Venezia while a Visiting Artist at the American Academy in Rome, he is currently finishing a piano quintet to perform with the ensemble during its 30th anniversary season in 2013. Cacioppo is represented as a composer on 12 compact discs, more than half of them containing exclusively his works alone.
Cacioppo’s music has been presented in prominent venues around the globe, from Carnegie Hall in New York to Segerstrom Concert Hall in Orange County, California, Munetsugu Hall in Nagoya to the Gasteig Cultural Center in Munich, Teatro La Fenice in Venice to the Jane Mallett Theatre in Toronto, from the Kennedy Center in Washington, D.C. to Sala Felipe Villanueva and Teatro San Benito Abad in Mexico, and often at cherished sites such as the Villa Aurelia in Rome, the Getty Museum in Los Angeles (there in conjunction with exhibitions of Venetian drawings and Tiepolo paintings) and the Fogg Museum at Harvard (in tandem with a show by American Indian artist Dan Namingha).
As solo recitalist he is not limited to performing his own work, but has championed the music of at least 30 fellow contemporary composers. A dozen composers have written for or dedicated pieces to him, among them George Rochberg and the Venetian avantgardist Marino Baratello. In early 2012 he recorded an entire CD of music by his colleague Mark Hagerty. As a collaborative pianist he has concertized with the Quartetto di Venezia, and with members of the Guarneri, Borromeo and American string quartets, the Orpheus Chamber Ensemble, the Philadelphia Orchestra, the Pacific, National and Boston symphonies, and the Minnesota, Metropolitan Opera and Leipzig Gewandhaus orchestras. Of particular meaning was his “Beethoven for Bosnia” benefit concert series in which he and violinist Geoffrey Michaels played the complete Beethoven sonatas for piano and violin, raising funds to aid Bosnian student refugees during the ’90’s war. At home in standard solo, chamber and vocal repertoire, he enjoys now and then performing baroque literature on the harpsichord.
An award winning teacher of long experience, Cacioppo has spoken to audiences and given lectures, workshops and masterclasses in a wide range of contexts. From the Interlochen Arts Academy to the Richard Strauss Konservatorium in Munich, the Espoon Institute in Helsinki to the National University in San José, Costa Rica, the Università Ca’ Foscari in Venice, Italy to the Orange County High School for the Performing Arts in California, from King’s College, London to the Mid-American Center for Music and Art in Bowling Green, Ohio, from the Deutsch-Amerikanischer Freundeskreis Niederrhein to Villanova University’s Peace and Justice Education Center, his message is ever warmly received. Because of his colloquial nature, performers of his music never hesitate to call him on stage to offer remarks when he is in the house.
Born in 1951 in Ravenna, Ohio, Cacioppo’s paternal lineage is Sicilian and maternal lineage Anglo-Saxon. He began his first piano lessons at age 9 under the guidance of his mother. His first recital was at age 11 at Kent State University’s School of Music, where he received his baccalaureate degree a decade later, studying composition and majoring in piano. He participated in master classes led by Arthur Loesser, John Browning, Ruth Laredo, Robert de Gaetano, and others. At the Blossom Festival School he coached chamber music under principal members of The Cleveland Orchestra, including oboist John Mack and violinist Josef Gingold, and pianist Tung Kwong Kwong. From Ohio he went to New York University and earned a Master of Arts degree (1976) in musicology. Advised by Gustave Reese, his thesis dealt with music of the liégeois composer Johannes Ciconia, who flourished in Padua in the late trecento/early quattrocento. He finished his studies at Harvard University with Leon Kirchner, Earl Kim and Ivan Tcherepnin. Ethnomusicologist David McAllester gave formal direction to his explorations of Native American music. He received the MA (1979) and Ph.D. (1980) in composition, and was appointed to the Harvard faculty for a four year period. In 1983 Cacioppo moved from Cambridge to Philadelphia to join the faculty of Haverford College, where he is Ruth Marshall Magill Professor of Music.
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Clifton Callender (b. 1969, Pascagoula MS) is Associate Professor of Composition at Florida State University, and holds degrees from the University of Chicago, Peabody
Conservatory, and Tulane University. His solo piano work Patty, My Dear has been recorded by Jeri-Mae Astolfi for Capstone and Point and Line to Plane has been recorded by
Jeffrey Jacob for New Ariel. Recent commissions include Hungarian Jazz, invited work for the Bridges Conference on the Arts and Mathematics, gegenschein, for Piotr Szewczyk's Violin Futura project, Reasons to Learne to Sing, for the 50th
Anniversary of the College Music Society, and Metamorphoses II, for the Florida State Music Teachers Association. His music has been recognized by and performed at numerous venues, including the Spark Festival, Electroacoustic Barn Dance, Boston New Music Initiative, Composers, Inc., Florida Electroacoustic Music Festival, National Association of Composers U.S.A. Young Composers Competition, the Northern Arizona University Centennial Composition, the Society for Electroacoustic Music in the United States, the World Harp Congress in Copenhagen, and the ppIANISSIMO Festival in Bulgaria. Also active in music theory, Callender's articles have been published in Science, Perspectives of New Music, Journal of Music Theory, Music Theory Online, and Intßgral.
Richard Campanelli was born in Hartford CT. When he was seven years old the family moved to Springfield, MO. There were not a lot of opportunities for an artistic education of any sort there, but he was able to finally talk his parents into getting a piano and started taking lessons from local piano teachers.
As a youth he was fascinated by the piano sonatas of Beethoven, and wanted to be a composer from a fairly early age. It wasn't until he attended that Conservatory of Music in Kansas City that he finally was able to explore that possibility. He graduated with a BMA in composition.
He then attended the Hartt Conservatory of Music in Hartford, Ct, where he studied with Donald Harris. During the following summer he was a Nikos Skalkottas Tanglewood Fellow where he studied with George Perle.
Richard completed his academic musical education by receiving a DMA from the University of MI where he studied with Leslie Bassett and William Bolcom.
Some of the awards he has won include the Holtkamp Prize for new organ music, a Ludwig Vogelstein grant, yearly ASCAP awards, a Marimolin prize for a new work for violin and marimba, a Charles Ives Scholarship and a Goddard Lieberson Fellowship from the American Academy of Arts & Letters and several Michigan Council for the Arts grants.
Richard currently lives in Ann Arbor, MI and is working on a piano concerto.
Cappella Clausura was founded by Amelia LeClair in 2004 to research, study and perform the music of women composers, and to bring engaging performances of this music to today's audiences and bring women composers into the classical canon. Our repertoire extends from the 9th century to the present. Our core is a vocal ensemble of twelve-to-sixteen singers who perform a cappella, with continuo, and with chamber orchestra, as the repertoire requires. Our singers are accomplished professionals who perform widely as soloists and ensemble musicians in Greater Boston and beyond; likewise, our instrumentalists are drawn from Boston's superb pool of freelancers. We utilize Classical and Baroque period instruments when appropriate to the repertoire.
Cappella Clausura's name honors the extraordinary body of music written by nuns of 17th century Italy who were cloistered, in clausura: covered, hidden away, segregated from public life. These gift ed and musically educated individuals became our first historical community of recognized women composers. Cappella Clausura takes the name "Clausura" as a metaphor for the cultural obstacles faced by women composers throughout history.
Joanne D. Carey received her music training at San Jose State University (SJSU) where she studied piano with Aiko Onishi, and composition with Tikey Zes, Lou Harrison (1917-2003) and Allen Strange (1943-2008), completing a B.A. (1979) and an M.A. (1986) in Music Composition. During this period she also performed with the Javanese Gamelan under the direction of Harrison and sang alto and tenor with the California Bach Society, learning countless cantatas and passions under the direction of Edwin Flath (1930-1987).
A decade as a visiting composer (1983-1993) with the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University had a major influence on the direction of her musical energies. She completed three computer-generated compositions at CCRMA between 1984 and 1990. The first, gamelan R-gong gong was based on the structures and timbres of gamelan music and presented at Stanford in July 1984; two other compositions developed detailed control of synthesized voices that were combined to produce ethereal choirs. Both of the virtual choir pieces have been presented at computer music festivals in the United States. The first, Cloud's Lament, was included on the album of the 1989 International Computer Music Conference (ICMC) at Ohio State University; the second, Intonations of the Wind, was presented at the 1990 Society for Electro-Acoustic Music in the United States (SEAMUS) conference in Baton Rouge, Louisiana. Upon completion of these pieces, Max Mathews, the inventor of computer music and subsequently a plethora of new electronic instruments, suggested to Carey that she write something for his radio-baton, which he had been developing at CCRMA since the early 1980's. This versatile instrument is a controller that allows an electronic score to be performed live, using sounds from a synthesizer, with dynamics and tempo responding to the motions of the batons in relation to a receiver table.
Carey found this new instrument/controller intriguing and began a series of songs based on the poetry of Pablo Neruda. The resulting Three Spanish Songs (1992-1994) Aqui, La Soledad, and Gracias, for radio-baton and mezzo-soprano, and dedicated to the gifted Maureen Chowning, have been performed in Hong Kong (1998); Guanajuato, Mexico (1996); San Jose, California (1995); the 1995 SEAMUS (Society of Electro Acoustic Music in the United States) conference in Ithaca, New York, Warsaw, Krakow and Bielsko-Biala, Poland (1993) as well as many times in Palo Alto. A recording of these songs performed by the composer and Ms. Chowning can be heard through the NACUSA website or purchased from CD Baby; acoustic ensemble versions are in progress as well. A fourth Spanish Song, Solo la Sombra, (2005 - revised 2011) for cello, piano and mezzo-soprano, marks her return to an acoustic sound palette. A performance of this piece at the 2011 NACUSA National Conference in Portland, Oregon can be heard on YouTube.
Sinfonia Concertante (2007) for Horn and Radio-baton, later realized as a piece for Horn and Chamber Orchestra, was the last in this series of compositions for this unique instrument. Her radio-baton repertoire also includes a three movement work for flute and radio-baton, Adventures on a Theme (1997), whose middle movement is a guided improvisation for flute and radio-baton, the latter using the radio-baton as a real-time improvising instrument based on programs written by the composer. The composer was able to perform this techno-concerto with three different flautists in Palo Alto and San Diego.
Her works are lyrical and melodic within an expressive, often tonally ambiguous, harmonic palette.
Philip Carlsen (b. 1951, Coulee Dam WA) earned degrees in composition from the University of Washington, Brooklyn College, and the CUNY Graduate Center. His principal teachers were Robert Suderburg and Jacob Druckman; he also studied with William Bergsma, Stuart Dempster, Mario Davidovsky, and Charles Dodge. Carlsen has received fellowships from the Maine Arts Commission, the National Institute of Arts and Letters, and the National Endowment for the Arts, a residency at the MacDowell Colony, and commissions from the American Composers Alliance (for the Manhattan Marimba Quartet), National Symphony Orchestra residency program, the Portland (ME) Symphony Orchestra, Bossov Ballet Theater, Sebago-Long Lakes Region Chamber Music Festival, and other organizations. In addition to numerous performances in Maine, his music has been played at such venues as New York's Town Hall and the Museum of Modern Art, at the Kennedy Center, national conferences of the College Music Society and the Society of Composers, and the Ernest Bloch Music Festival Composers Symposium. Besides works for traditional Western media, he has written for Javanese gamelan, automobile orchestra, and his own invented instruments. Carlsen is a professor of music at the University of Maine at Farmington, where he has taught since 1982.close
John Carollo was born in Turin, Italy on November 4, 1954. An Italian family adopted him in 1959 and raised him in Oil City, Pennsylvania. During grade school he studied and played piano and was a member of a Catholic Church choir who sang for the congregation during weekend services. He moved from Oil City to San Diego, California in 1976 where he attended college taking courses in music and psychology. He graduated in 1986 from San Diego State University with a Masters Degree in Psychology and began composing for piano. After moving to Honolulu, Hawaii in 1987, he started a career as a mental health counselor with the State of Hawaii Department of Health.
In 1997, he began private composition lessons with Dr. Robert Wehrman. Carollo's first work under Robert's tutelage was The Crumb Suite for Solo Piano. Following this effort, he composed an atonal work in 1998 entitled Frenetic Unfoldings for Solo Violin. After its completion, Carollo focused his energies on mostly solo and chamber works. He retired in March of 2006 to compose full-time and establish a music business named Musica Baudino. Musica Baudino published his first CD, Ampersand, in June 2006, which went on to win Best Classical CD at the 10th Annual Hawaii Music Awards ceremony. Carollo is a prolific artist, composing daily and maintaining a working relationship with faculty members of the University of Hawaii's Music Department and artists throughout the world. His works have been performed in various venues and festivals in Hawaii and abroad. He is an ASCAP member and a lifetime member of the Society of Composers in America.
A complete catalog of John Carollo's works can be found at here.
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Delvyn Case is a composer, conductor, scholar, performer and educator based in Boston.
His holiday overture Rocket Sleigh has been performed by over 50 orchestras, including the Royal Liverpool Philharmonic and the Toronto, Atlanta, Winnipeg, Hartford, San Antonio, Jacksonville, Louisville, Pacific, and National Symphony Orchestras. It is now a part of the touring holiday repertoire of Cirque de la Symphonie. The version for wind ensemble has been performed by the Dallas Wind Symphony, the US Coast Guard Band, and many major collegiate concert bands across the United States. It was recently featured on NPR's "Performance Today."
Performers of his concert music have included the Grammy-winning quintet Chestnut Brass Company, mezzo-soprano D'Anna Fortunato, Grammy-nominated pianist Charles Abramovic, The Hermitage Trio, The New York Virtuoso Singers, Rome's Freon Ensemble, and Ibis Camerata. He is the composer of The Prioress's Tale, a 75-minute chamber opera that toured throughout New England for four seasons as part of a unique initiative fostering inter-religious dialogue and peace-making. Recently he completed extensive two educational outreach pieces for narrator and chamber ensemble, commissioned by the Portland Symphony Orchestra, which have been performed for thousands of children from Maine to California. He is currently at work on a new piece for the Ariel Quartet.
Delvyn Case earned degrees from Yale (B.A. summa cum laude in music) and the University of Pennsylvania (Ph.D. in composition.) He is currently Associate Professor of Music at Wheaton College in Norton, Massachusetts.close
Hailed as "a firs-class ensemble" (Orange County Register) "exuberant and technically dazzling" (Long Beach Gazette) and "one of the best young chamber groups around today" (Philip Setzer, Emerson String Quartet), Trio Céleste has quickly established itself as one of the most dynamic chamber music ensembles in the country. Winners of the prestigious Beverly Hills Auditions in Los Angeles, Trio Céleste is currently Ensemble- in-Residence at the Claire Trevor School of the Arts at the University of California, Irvine, and in 2012, formed Chamber Music | OC - a nonprofit organization dedicated to promoting the art of chamber music through performance, education, and community outreach.
For more information, please visit www.trioceleste.com
Sergio Cervetti's works range from instrumental and vocal music to electronic works that often reflect his South American, French and Italian heritage. His vocabulary draws from an early brush with twelve-tone and minimalism, and his current approach is flexible and free. Critics have said that Cervetti's style blends folk elements, European tradition, and minimalist aesthetics; they also often comment that his music displays a range of sonorities that are truly novel.
Cervetti, who was born in Uruguay and became a U.S. citizen in 1979, graduated from the Peabody Institute after studying with Ernst Krenek and Stefan Grove; and was subsequently invited by the DAAD to be composer-in-residence in Berlin after winning a Caracas Festival prize for Five Episodes. After taking residence in New York City in 1970 he taught at Brooklyn College, worked for Virgil Thomson, and studied electronic music with Vladimir Ussachevsky and Alcides Lanza at Columbia University. In 1972 he joined the faculty of New York University Tisch School of the Arts where he taught music history, composition and choreography until 1997.
Noted works performed in Berlin's Akademie der Kunste, the Prado Museum, Lincoln Center, Kennedy Center, BAM's Next Wave Festivals, Walker Arts Center, Library of Congress, and MOMA, among others include Guitar Music: The Bottom of the Iceberg, a minimalist solo guitar piece; from the earth, a controlled improvisation for any number of sustaining instruments; The Hay Wain, an electronic work inspired by the Bosch triptych, sections of which are used in Oliver Stone's film Natural Born Killers; Candombe I for harpsichord and Candombe II for orchestra, based on a Uruguayan national dance with African origins; and the opera Elegy For A Prince, premiered in excerpt by New York City Opera at VOX 2007. Recently completed works include YUM!, a chamber opera to an original libretto by Elizabeth Esris about food and friendship, and Visual Diary, a soundtrack to a film by Valerie Sonnenthal made from 27,000 photographs.
Among works relating to South American history, language, and culture are Leyenda for soprano and orchestra based on the Uruguayan Indian legend; Tabare, by Juan Zorrilla de San Martin; El Triunfo de la Muerte, song cycle for soprano and piano with text by Circe Maia; and Madrigal III for two sopranos and chamber ensemble set to a pre-Colombian Aztec poem by Nezahualcoyotl about the brevity of life.
For further information and music samples visit www.sergiocervetti.com
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Sergio CervettiSunset At Noon
Sergio CervettiTransits <
Sergio CervettiWind Devil & Co.
Sergio CervettiNazca and Other Works
Various ArtistsPARMA Music Festival Live 2013
Lorenz, Piazzolla, Cervetti, Elizondo, Tenreiro, VasquezDestinations
Various ArtistsFine Music Vol. 3
Alan Chan (b. 1978, Hong Kong, China) is a multi-faceted composer in both classical and jazz genres whose music has been recognized by ArtEZ (Netherlands), ASCAP, American Composers Forum, Los Angeles County Arts Commission and Percussive Arts Society, among others. His commissioned pieces have been performed by groups such as the Hong Kong Chinese Orchestra, Lien Percussion (Taiwan), St. Matthew’s Chamber Orchestra (Los Angeles), Melody of China (San Francisco), Hexnut (Netherlands), Firebird (Boston) and sTop Percussion (Slovenia). His jazz big band works have been performed by Chuck Owen and the Jazz Surge, Millennium Jazz Orchestra, Gateway Jazz Orchestra and college big bands in Miami and Los Angeles.
He holds a D.M.A. degree from the University of Southern California and is a former faculty member of the University of Redlands and the Walden School Young Musicians Program. His compositions are published by HoneyRock, Keyboard Percussion Publications and Meridian Publishing.close
The Chicago Arts Orchestra was founded by a group of musicians and creative artists to perform great music and to make chamber music accessible and affordable. The orchestra is made up of young professional musicians who maintain active performing schedules throughout Chicago. The CAO aims to achieve its mission by providing educational opportunities for the community through the performance of historic and new orchestral music, and seeks to be innovative in its programming and presentation of concerts. Their debut release, AL COMBATE on Navona Records, reflects their goal of reviving overlooked works and reincorporating them into modern repertoire, highlighting both their historical significance and their lasting power.close
William Coble's premieres include the Richmond Symphony, Hudson Valley Philharmonic, Syracuse Symphony, Moravian Philharmonic, Concerto Soloists Chamber Orchestra, Composers Conference Chamber Orchestra, Contempo Chamber Orchestra, eighth blackbird, New York New Music Ensemble, Alea III, and the Pacifica String Quartet. He has been performed by Matt Albert, David Tanenbaum, Scott St. John, Steve Harlos, Charles Mokotoff, Daphne Gerling, Susan Synnestvedt, William Hite, Jay Morrissey, Walter Huff, Elizabeth McNutt, Sharon Garvey-Cohen, Chuong Vu, Janelle Ott, Lisa Kaplan, Judy Pannill, and Heran Yang. Conductors performing his music include Mark R. Smith, Kazuyoshi Akiyama, JoAnn Falletta, Louis Biava, Randall Fleischer, Christopher Dean, and Theodore Antoniou.
Coble's commissions include musicians from all of the top 6 orchestras in the country. His works have been heard at such venues as Merkin Hall, Weill Hall at Carnegie Hall, CAMI Hall, Harvard Group for New Music, the Chicago Symphony's Chamber Music Series, Northwestern University's Music Marathon, Syracuse Society for New Music, Cincinnati's Music '04 Festival, Spectrum Series, Tanglewood, Florida State University Festival, MGMC-Conferences, Brandeis BEAMS, and more.
Coble's honors include the American Academy of Arts and Letters, Columbia's Bearns Prize (orchestra), Rockefeller Foundation, Davenport Prize ('90, '02), BMI, Pennsylvania Council on the Arts, Illinois Arts Council, MacDowell Colony, Yaddo, Kennedy Center Friedheim (orchestra, top-10), and 1st Prize in SCI-ASCAP's 2012 contest (V) for his Awakening Captive (chamber orchestra with computer). He is published by G. Schirmer/associated and recorded by PARMA. His studies were at Boston University, Curtis Institute of Music, University of Chicago, Roosevelt University, and Harvard University. Principal teachers include Ned Rorem, Marta Ptaszynska, David Del Tredici, Mario Davidovsky, Gunther Schuller, Steve Albert, Robert Sirota, Bill Karlins, John Eaton, Howard Sandroff, and Kotoka Suzuki.close
Composer Gerald Cohen has been praised for his "linguistic fluidity and
melodic gift," creating compositions with "a strong sense of tradition-
one that embraces Brahms, Bartok, and Britten on one hand and his own
Jewish heritage on the other" (Gramophone Magazine). His deeply
affecting compositions have been recognized with numerous awards
and critical accolades.
This recording of compositions performed by Grneta Ensemble, SEA OF REEDS, was released in November 2014. Lucid Culture proclaimed Grneta Ensemble's concert featuring Cohen's compositions as one of the best of the year. His best-known work, his "shimmering setting" (Pittsburgh Post-Gazette) of Psalm 23 ("Adonai Ro'i Lo Echsar"), has received thousands of performances from synagogues and churches to Carnegie Hall and the Vatican.
His opera, Steal a Pencil for Me, based on a true concentration camp love story, had its semi-staged premiere in 2013. Lucid Culture's review noted the effectiveness of Cohen's "...mesmerizingly hypnotic, intricately contrapuntal" music, with moments of "..Bernard Herrmann-esque, shivery terror..." Cohen's operas Sarah and Hagar, based on the story from the book of Genesis, and Seed, a one-act opera about love and choices for a post-apocalyptic couple, have been performed in concert form. Cohen is a noted synagogue cantor and baritone; his experience as a singer informs his dramatic, lyrical compositions.
Recognition of Cohen's body of work includes the Copland House Borromeo String Quartet Award, Aaron Copland Award, Westchester Prize for New Work, American Composers Forum Faith Partners residency, and Cantors Assembly's Max Wohlberg Award for distinguished achievement in the field of Jewish composition. Cohen received the Yale University's Sudler Prize for outstanding achievement in the creative arts, and has been awarded commissioning grants from Meet the Composer, National Endowment for the Arts, New York State Council on the Arts, and Westchester Arts Council. Throughout his career, he has been selected for residencies including those at the MacDowell Colony, Yaddo, Virginia Center for the Creative Arts and American Lyric Theater.
Cohen's music has been commissioned by chamber ensembles including the Cassatt String Quartet, Verdehr Trio, Franciscan String Quartet, Chesapeake Chamber Music, Grneta Ensemble, Wave Hill Trio, Bronx Arts Ensemble, and Brooklyn Philharmonic Brass Quintet; by choruses including the New York Virtuoso Singers, Canticum Novum Singers, Syracuse Children's Chorus, St. Bartholomew's Church in New York City, Zamir Chorale of Boston, and Usdan Center Chorus; and by the Cantors Assembly of America and Westchester Youth Symphony. Battery Dance Company commissioned his Songs of Tagore which accompanied dance performances on tours throughout India and Eastern Europe.
Cohen's music has been performed by the Borromeo String Quartet, Pittsburgh Symphony Orchestra, San Diego Symphony, Westchester Philharmonic, Riverside Symphony, Plymouth Music Series Orchestra, New York Concert Singers, Princeton Pro Musica, and many other ensembles and soloists. Gerald Cohen received a BA in music from Yale University and a DMA in composition from Columbia University. He is cantor at Shaarei Tikvah, Scarsdale NY, and is on the faculties of the Jewish Theological Seminary and Hebrew Union College. Cohen lives in Yonkers NY with his wife Caroline and son Daniel.
Cohen's compositions are published by Oxford University Press, G. Schirmer/AMP and Transcontinental Music Publications. In addition to the album of Cohen's chamber music, SEA OF REEDS (Navona Records), a recording of his chamber, choral, and solo vocal compositions, Generations (NWCRI) includes performances by the composer.
Concorde was founded in Dublin in 1976 to promote the regular performance of new music. The group made its debut in the American Embassy in Dublin and has since performed widely throughout Ireland, Europe and North America.
Concorde continues to nurture the creation of new work, having commissioned and premiered over one hundred compositions; to forge international links with performers, composers and promoters; to work with composition students in Ireland through programmes at DIT Conservatory of Music and Drama and NUI, Maynooth; and to reach audiences worldwide through live performances, broadcasts and recordings. Concorde's CD REFLECTIONS, with bass clarinetist Harry Sparnaay, was released in 2010 with PARMA Recordings on Navona Records.
Concorde is a member of the European Conference of Promoters of New Music and is supported by the Arts Council of Ireland.close
Coro Allegro, Boston's acclaimed chorus for members and friends of the lesbian, gay, bisexual, and transgender (LGBT) community, seek to affirm, strengthen, and enrich the lives of its members and the broader community through the presentation of outstanding performances of choral music.
Coro Allegro performances have been broadcast on WGBH's "Classical Performances" and brought to national and international audiences through performances at four GALA Choruses Festivals and the Eastern Division Convention of the American Choral Directors Association.
In 2008, Coro Allegro established the Daniel Pinkham Award in memory of the late Boston composer and conductor Daniel Pinkham. The award is given annually in recognition of outstanding contributions to classical music and the LGBT community. Daniel Pinkham Award recipients include baritone Sanford Sylvan, Bishop Gene Robinson, flutist Fenwick Smith, composer Patricia Van Ness, and conductor Donald Teeters.
Coro Allegro is the recipient of the 2012 Chorus America/ASCAP Alice Parker Award, which recognizes a member chorus for programming significant recently composed music that expands the mission of the chorus and challenges the chorus' audience in a new way.close
Winner of the 2009 ASCAP/Chorus America Award for Adventurous Programming, The Crossing is one of the only professional choirs in the world dedicated to singing exclusively new and recently-composed works. Formed by a group of friends in 2005 who sang with conductor Donald Nally in Philadelphia and Italy, The Crossing has grown to become a vital part of Philadelphia’s cultural scene, recently establishing the Month of Moderns – a festival of three concerts of new choral music in one summer month, with each festival focusing on newly-commissioned works on a given theme or author, such as Paul Celan, Philip Levine, and Seneca the Younger. Frequently invited to collaborate, The Crossing has recorded Kile Smith’s Vespers with Piffaro, the Renaissance Band, and is collaborating on projects with Tempesta di Mare, Lyric Fest, and Network for New Music, as well as commissioned premieres by Eriks Esenvalds, Gabriel Jackson, David Lang, Kamran Ince, Kile Smith, and Sebastian Currier. Recent world premieres have included Lang, Benjamin CS Boyle, Paul Fowler, Lansing McLoskey and David Shapiro. David Patrick Stearns, in the Philadelphia Inquirer, has called The Crossing “Philadelphia’s best chorus,” performing a “business-as-usual mind-blowing concert.” Donald Nally has served as Chorus Master at Lyric Opera of Chicago, Welsh National Opera, and the Opera Company of Philadelphia; Music Director of VAE: Cincinnati’s Vocal Arts Ensemble; Choirmaster at Saint Mark’s Church, Philadelphia; and Artistic Director for the Choral Arts Society of Philadelphia, which won Chorus America’s Margaret Hillis National Award for Excellence in Choral Music under his direction. This is The Crossing’s first solo recording.
For more information, please visit www.crossingchoir.com.close
Richard A. Crosby (b. 1957) received his BM, MM and DMA from the University of Cincinnati College-Conservatory of Music. He has served as Professor of Music at Eastern Kentucky University since 1986, where he teaches piano and music history. He is a self-taught composer.
Dr. Crosby has been a member of Phi Mu Alpha Sinfonia since 1975 and has served three terms as National President and has been Governor of Province 25 since 1988.
Among his published works beside the Trombone Sonata are Appalachian Variations Op. 2 for band, A Walt Whitman Portrait Op. 9 for band and chorus, and the Sonata for Viola and Piano, Op. 10. He is currently working on a Trumpet Concerto.
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Barber, Adler, Van der Roost, Seroff, Gillett, Lach Lau, CrosbySculpting The Air: Modern Works For Wind Instruments
Allan Crossman was born into an artistic family in New York City, 1942, and has always been active musically. He has had the great pleasure to write for many notable soloists and ensembles worldwide on both concert and theater stages, including many commissions. Compositions have received special awards and commentary, as has his teaching.
Music for Human Choir shared Top Honors at the Waging Peace through Singing Festival in Oregon; Millennium Overture Dance appeared on a GRAMMY-nominated album from North/South Consonance ("...a brilliant and fleeting work of beguiling melodic character and supple rhythmic life. It dances between a variety of festive episodes with élan and robust invention."); Flyer was written for the centenary of the famous Wright Brothers flight (N/S, Max Lifchitz, conductor "...a swooping, glissando-obsessed tribute to the first powered flight...The feeling of weightlessness is by no means unpleasant."); and his Gypsy Ballads was performed by pianist Nannette Solomon at the International Lorca Conference in Spain. His work has been supported by Canada Council for the Arts, American Composers Forum, and Meet the Composer, among others.
He has composed for many theater companies. The Log of the Skipper's Wife was produced by the Royal Shakespeare Co. at Stratford, England and the Kennedy Center, with music drawn from Irish/Scottish shanties; it also appeared at the Camden Opera House, Maine, where Dorothea Balano, the skipper's wife, saw many operas in the early 20th century. He was music director of the Anne of Green Gables musical tour of Montreal and Hong Kong and was creator of the soundtrack for the award-winning animated film X MAN, by Christopher Hinton (National Film Board of Canada).
His frequent appearances accompanying concert soloists includes a recent recital by Richard Mix at the Beethoven Center, San Jose CA.
He has taught at Concordia University, Montreal (Professor Emeritus), San Francisco Conservatory, Wheaton College, Pacific Conservatory, and the John Adams Young Composers Program (Crowden Music Center); a number of his students are active as concert and film composers. His teachers were George Rochberg, George Crumb and Hugo Weisgall at the University of Pennsylvania, and principal piano studies with Irwin Gelber.
Gramophone Magazine calls Shawn Crouch a "gifted young composer" and Anthony Tommasini of the New York Times describes Shawn Crouch's work as music of "gnarling atonal energy". Lawrence Johnson of the Miami Herald called his Road From Hiroshima; A Requiem a "staggering achievement, an imaginative, powerful and deeply moving work" making the Miami Herald and Sun Sentinel's 2005 Classical Music Standouts. Shawn has received numerous awards from among others, The American Academy of Arts and Letters, ASCAP, Yale University, Meet the Composer and the Percussive Arts Society. He is the inaugural recipient of the Dale Warland Singers Commissioning Award given by Chorus America and the American Composers Forum. Crouch has had his works performed by Chanticleer, Eighth Blackbird, California E.A.R. Unit, Non Sequitur Ensemble, The Del Sol String Quartet, Prism Quartet, Seraphic Fire Choir and Orchestra, Cantori New York, the Yesaroun' Duo, and others. He has studied with Martin Bresnick, Ezra Laderman, Malcolm Peyton, Marguerite Brooks and Leo Wanenchak. He has been a fellow at the Tanglewood Music Center and the Norfolk Music Festival. Mr. Crouch received his B.M. in composition from the New England Conservatory with honors and distinction in performance, and his M.M. in composition from the Yale School of Music. Shawn Crouch currently serves as the newly appointed John S. and James L. Knight Foundation Director of the Miami Choral Project, a tuition-free program that creates a little league-type network of choral ensembles for children in low-income areas of Miami-Dade County.close
Works by Daniel Crozier have been performed in New York, Philadelphia, Baltimore, Pittsburgh, Boston, Toronto, Syracuse, Washington's Kennedy Center, the Aspen Music Festival, the Oregon Bach Festival Composers' Symposium, and by the Bach Festival Society of Winter Park. His pieces have been recorded for release by Albany Records, ACA Digital, MARK Records, and PARMA Recordings and recorded for broadcast by the Belgian Radio and Television Network.
His first symphony, Triptych for Orchestra, has been recorded by the Seattle Symphony under conductor Gerard Schwarz. His Toccata for Soprano Saxophone and String Trio was premiered in 2002 by saxophonist Branford Marsalis and the Walden Chamber Players. Current projects include performances and/or recordings by the Brazilian Guitar Quartet and the Boston Modern Orchestra Project.
Crozier’s honors include an Individual Artist Fellowship from the State of Florida’s Division of Cultural Affairs; two award nominations from the American Academy of Arts and Letters; first prize at the Jacksonville Symphony Orchestra’s commissioning competition Fresh Ink; annual ASCAP Special Awards since 1996; an ASCAP Foundation Young Composer's Grant for his first opera, The Reunion, to a libretto by Roger Brunyate; and first prize in the National Opera Association Chamber Opera Competition for his second opera, With Blood, With Ink, to a libretto by Peter M. Krask.
In the years 2000 and 2010 excerpts from With Blood, With Ink were included on the New York City Opera's VOX Showcase. At the opera’s premiere, the critic for the Baltimore Sun wrote "…Crozier has responded to this libretto with music of extraordinary depth and power. He gives the characters and their story a compelling richness enviable for a composer his age." In 2010, the New York Times praised With Blood, With Ink as “…driven by Mr. Crozier’s harmonically lush and lyrically soaring score…”
Crozier has worked with Eliot Newsome at Westminster College (BM), Jean Eichelberger Ivey at the Peabody Conservatory of the Johns Hopkins University (MM, DMA), John Harbison at the Oregon Bach Festival and John Harbison and Bernard Rands at Aspen. He has served on the faculty at the Peabody Preparatory, Radford University, and is currently Associate Professor of Theory and Composition at Rollins College.
Composer Michael G. Cunningham, born 1937 in Warren, Michigan, holds music degrees from Wayne State University, the University of Michigan and Indiana University. Between 1967 and 1973 he taught theory and composition-related courses at universities in Michigan, Indiana, Kansas, and California. From 1973 to 2006 he was Professor of Theory and Composition at the University of Wisconsin – Eau Claire.
To date, Cunningham has approximately 250 compositions written for nearly every medium. He has also published more than ten books focused on the subjects of composition and music theory. One such book, 85 Art Songs, contains the four arias on this disk. Additional biographical information and background can be found in Who's Who in America and in various biographical dictionaries.