Funded in part through a grant from The Aaron Copland Fund ...

Producer: James Ginsburg

Engineer: Bill Maylone

Graphic Design: Melanie Germond

Cover Photo: Home of Chicago’s Music in the Loft concert series (photo by Barrett Cooke) with sheet music from Stacy Garrop’s String Quartet No. 2: Demons and Angels.

Recorded October 9-10, 2006 (Garrop); October 23, 2006 (Pann); December 5, 2006 (Fung); January 23, 2007 (Jalbert); and January 25, 2007 (Lorenz) at WFMT, Chicago

Steinway Piano / Charles Terr, technician

Publishers:

Funded in part through a grant from The Aaron Copland Fund for Music, Inc.

Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency.

Contributions to The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or 773-989-2515.

Composers in the Loft

Ricardo Lorenz (b. 1961)1 Bachangó (1984) (5:05)*

Marta Aznavoorian, piano

Carter Pann (b. 1972)Differences for cello and piano (1998) (13:43)*2 I. Strand (2:02) 3 II. Air (3:41) 4 III. Country Dance (3:04)5 IV. Blues (2:59) 6 V. Song (1:44)

David Ying, cello Elinor Freer, piano

Pierre Jalbert (b. 1967)Trio for violin, cello, and piano (1998) (16:34)7 I. Life Cycle (8:32) 8 II. Agnus Dei (7:57)

Lincoln Trio

Stacy Garrop (b. 1969)String Quartet No. 2: Demons and Angels (2005) (30:25)*9 I. Demonic Spirits (7:55) bk II. Song of the Angels (3:54)bl III. Inner Demons (7:35) bm IV. Broken Spirit (10:50)

Biava Quartet

Vivian Fung (b. 1975)Miniatures for Clarinet and String Quartet (2005) (12:08)*bn I. Floating (1:58) bo II. Light and Playful (2:27) bp III. Improvisation-like (2:55) bq IV. A Piacere (4:38)

John Bruce Yeh, clarinet Maia Quartet

*World Premiere RecordingTT: (78:30)

Producer: James Ginsburg

Engineer: Bill Maylone

Graphic Design: Melanie Germond

Cover Photo: Home of Chicago’s Music in the Loft concert series (photo by Barrett Cooke) with sheet music from Stacy Garrop’s String Quartet No. 2: Demons and Angels.

Recorded October 9-10, 2006 (Garrop); October 23, 2006 (Pann); December 5, 2006 (Fung); January 23, 2007 (Jalbert); and January 25, 2007 (Lorenz) at WFMT, Chicago

Steinway Piano / Charles Terr, technician

Publishers:

Funded in part through a grant from The Aaron Copland Fund for Music, Inc.

Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency.

Contributions to The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or 773-989-2515.

Composers in the Loft

Ricardo Lorenz (b. 1961)1 Bachangó (1984) (5:05)*

Marta Aznavoorian, piano

Carter Pann (b. 1972)Differences for cello and piano (1998) (13:43)*2 I. Strand (2:02) 3 II. Air (3:41) 4 III. Country Dance (3:04)5 IV. Blues (2:59) 6 V. Song (1:44)

David Ying, cello Elinor Freer, piano

Pierre Jalbert (b. 1967)Trio for violin, cello, and piano (1998) (16:34)7 I. Life Cycle (8:32) 8 II. Agnus Dei (7:57)

Lincoln Trio

Stacy Garrop (b. 1969)String Quartet No. 2: Demons and Angels (2005) (30:25)*9 I. Demonic Spirits (7:55) bk II. Song of the Angels (3:54)bl III. Inner Demons (7:35) bm IV. Broken Spirit (10:50)

Biava Quartet

Vivian Fung (b. 1975)Miniatures for Clarinet and String Quartet (2005) (12:08)*bn I. Floating (1:58) bo II. Light and Playful (2:27) bp III. Improvisation-like (2:55) bq IV. A Piacere (4:38)

John Bruce Yeh, clarinet Maia Quartet

*World Premiere RecordingTT: (78:30)

RICARDO LORENZ (b. 1961)1 Bachangó (1984)

Ricardo Lorenz’s compositions have re-ceived praise for their fiery orchestrations, harmonic sophistication, and rhythmic vi-tality. His works have been performed at prestigious international festivals including Carnegie Hall’s Sonidos de las Americas, the Ravinia Festival, Santa Fe Chamber Mu-sic Festival, France’s Berlioz Festival, Spain’s Festival Internacional de Musica Contem-poranea de Alicante, Mexico’s Festival Cer-vantino, and Turkey’s Uluslararasi Summer Festival, among others. Lorenz’s orchestral compositions have been performed by the Chicago Symphony Orchestra, San Anto-nio, Billings, Youngstown, New World, and Minneapolis Chamber Symphonies; and the Chicago Sinfonietta, Dayton Philhar-monic, American Composers Orchestra, and premier orchestras in Germany, Spain, Sweden, the Czech Republic, Mexico, and Venezuela. The Venezuelan-born compos-er has served as Composer-in-Residence of the Armonia Musicians Residency Program of the Chicago Symphony Orchestra, and Composer-in-Residence of the Billings Sym-phony, Montana, and Chicago’s Music in the Loft chamber music series. Ricardo Lorenz has received distinctions and awards from the Civitella Ranieri Foundation, Rockefeller

Foundation Humanities Fellowship, Orga-nization of American States (OAS), Concert Artists Guild, Meet-the-Composer Mid-west, Barlow Endowment for Music Com-position, Newhouse Foundation, Illinois Community College Trustees Association, and ASCAP. Lorenz is currently Associate Professor of Composition at Michigan State University. His compositions are published by MMB Music and Boosey & Hawkes, and have been released on Arabesque Record-ings, Albany Records, Indiana University’s LAMC Series, Doublemoon Records (Tur-key), Urtex Digital Classics (Mexico), and SOMM Recordings (UK).

Composed in 1984, Bachangó is a brief, ka-leidoscopic look at Afro-Cuban music. The title derives from three terms related to this sphere: Batá, Charanga, and Guaguancó. Elements belonging to these genres are weaved together in order to create a fast changing, fantasy-type work. The lyrical quality of the Charanga is complimented by the rhythmic rigidity of the Guanguancó, while the patterns of the religious Batá drums enwrap the piece in an atmosphere of mystery. It was through Bachangó that Music in the Loft’s Fredda Hyman first be-came acquainted with my music.

CARTER PANN (b. 1972)Differences for cello and piano (1998)2 I. Strand 3 II. Air 4 III. Country Dance5 IV. Blues6 V. Song

Carter Pann is one of the most versatile composers of his generation. His music has been performed around the world by ensembles and soloists including the Lon-don, City of Birmingham, Seattle, Vancou-ver, Ireland National, and New York Youth Symphonies; the Radio Symphonies of Ber-lin, Stockholm, and Finland; the National Repertory Orchestra; Richard Stoltzman; the Ying Quartet; Barry Snyder; and the Antares ensemble. Honors include the K. Serocki Competition for his Piano Concerto (premiered by the Polish Radio Symphony in Lutoslawski Hall, Warsaw 1998), a Charles Ives Scholarship from the Academy of Arts and Letters, and five ASCAP composer awards. The Czech State Philharmonic of Brno recorded four of his orchestral works under José Serebrier for a disc in Naxos’s American Classics series (Carter Pann: Piano Concerto/Dance Partita). The Piano Con-certo was nominated for a 2001 Grammy as “Best Classical Contemporary Composi-tion.” His Clarinet Concerto, Rags to Richard,

commissioned for Richard Stoltzman, was recorded by the Seattle Symphony under Gerard Schwarz. Love Letters (String Quar-tet No. 1) was commissioned by the Ying Quartet for its Life Music commissioning project through a grant from the American Music Institute. Slalom (for orchestra) has been widely performed throughout the United States and Europe (and showcased on NPR’s Performance Today). Anthems in Waves was commissioned by the Haddon-field Symphony through a grant from the National Endowment for the Arts. Recent works include Nicky’s Trio (Piano Trio No. 1), commissioned by Music in the Loft for the Amelia Trio; American Child, written for a consortium of 10 university wind ensem-bles; and Anatares (for piano, violin, cello, and clarinet) for the Antares ensemble. Carter Pann is currently on the composi-tion faculty of the University of Colorado at Boulder.

Differences was composed in February 1998 for cellist Derek Snyder. The work is comprised of five short movements, very much like a Baroque suite or partita. The individual pieces, however, are radically different from each other in style and con-tent. Originally, my plan was to transcribe an earlier chamber work, Dance Partita, in its entirety for cello and piano (resulting

RICARDO LORENZ (b. 1961)1 Bachangó (1984)

Ricardo Lorenz’s compositions have re-ceived praise for their fiery orchestrations, harmonic sophistication, and rhythmic vi-tality. His works have been performed at prestigious international festivals including Carnegie Hall’s Sonidos de las Americas, the Ravinia Festival, Santa Fe Chamber Mu-sic Festival, France’s Berlioz Festival, Spain’s Festival Internacional de Musica Contem-poranea de Alicante, Mexico’s Festival Cer-vantino, and Turkey’s Uluslararasi Summer Festival, among others. Lorenz’s orchestral compositions have been performed by the Chicago Symphony Orchestra, San Anto-nio, Billings, Youngstown, New World, and Minneapolis Chamber Symphonies; and the Chicago Sinfonietta, Dayton Philhar-monic, American Composers Orchestra, and premier orchestras in Germany, Spain, Sweden, the Czech Republic, Mexico, and Venezuela. The Venezuelan-born compos-er has served as Composer-in-Residence of the Armonia Musicians Residency Program of the Chicago Symphony Orchestra, and Composer-in-Residence of the Billings Sym-phony, Montana, and Chicago’s Music in the Loft chamber music series. Ricardo Lorenz has received distinctions and awards from the Civitella Ranieri Foundation, Rockefeller

Foundation Humanities Fellowship, Orga-nization of American States (OAS), Concert Artists Guild, Meet-the-Composer Mid-west, Barlow Endowment for Music Com-position, Newhouse Foundation, Illinois Community College Trustees Association, and ASCAP. Lorenz is currently Associate Professor of Composition at Michigan State University. His compositions are published by MMB Music and Boosey & Hawkes, and have been released on Arabesque Record-ings, Albany Records, Indiana University’s LAMC Series, Doublemoon Records (Tur-key), Urtex Digital Classics (Mexico), and SOMM Recordings (UK).

Composed in 1984, Bachangó is a brief, ka-leidoscopic look at Afro-Cuban music. The title derives from three terms related to this sphere: Batá, Charanga, and Guaguancó. Elements belonging to these genres are weaved together in order to create a fast changing, fantasy-type work. The lyrical quality of the Charanga is complimented by the rhythmic rigidity of the Guanguancó, while the patterns of the religious Batá drums enwrap the piece in an atmosphere of mystery. It was through Bachangó that Music in the Loft’s Fredda Hyman first be-came acquainted with my music.

CARTER PANN (b. 1972)Differences for cello and piano (1998)2 I. Strand 3 II. Air 4 III. Country Dance5 IV. Blues6 V. Song

Carter Pann is one of the most versatile composers of his generation. His music has been performed around the world by ensembles and soloists including the Lon-don, City of Birmingham, Seattle, Vancou-ver, Ireland National, and New York Youth Symphonies; the Radio Symphonies of Ber-lin, Stockholm, and Finland; the National Repertory Orchestra; Richard Stoltzman; the Ying Quartet; Barry Snyder; and the Antares ensemble. Honors include the K. Serocki Competition for his Piano Concerto (premiered by the Polish Radio Symphony in Lutoslawski Hall, Warsaw 1998), a Charles Ives Scholarship from the Academy of Arts and Letters, and five ASCAP composer awards. The Czech State Philharmonic of Brno recorded four of his orchestral works under José Serebrier for a disc in Naxos’s American Classics series (Carter Pann: Piano Concerto/Dance Partita). The Piano Con-certo was nominated for a 2001 Grammy as “Best Classical Contemporary Composi-tion.” His Clarinet Concerto, Rags to Richard,

commissioned for Richard Stoltzman, was recorded by the Seattle Symphony under Gerard Schwarz. Love Letters (String Quar-tet No. 1) was commissioned by the Ying Quartet for its Life Music commissioning project through a grant from the American Music Institute. Slalom (for orchestra) has been widely performed throughout the United States and Europe (and showcased on NPR’s Performance Today). Anthems in Waves was commissioned by the Haddon-field Symphony through a grant from the National Endowment for the Arts. Recent works include Nicky’s Trio (Piano Trio No. 1), commissioned by Music in the Loft for the Amelia Trio; American Child, written for a consortium of 10 university wind ensem-bles; and Anatares (for piano, violin, cello, and clarinet) for the Antares ensemble. Carter Pann is currently on the composi-tion faculty of the University of Colorado at Boulder.

Differences was composed in February 1998 for cellist Derek Snyder. The work is comprised of five short movements, very much like a Baroque suite or partita. The individual pieces, however, are radically different from each other in style and con-tent. Originally, my plan was to transcribe an earlier chamber work, Dance Partita, in its entirety for cello and piano (resulting

Music Ensemble, Zeitgeist, and Network for New Music; and the Ying, Maia, Enso, and Chiara Quartets, among others. He has also served as Composer-in-Residence with the Los Angeles Chamber Orchestra and the California Symphony. Pierre is a member of Musiqa, a Houston new music group. His music is published by Theodore Presser Company .

Current projects include a new work for the Maia Quartet and an orchestral work com-missioned through Meet the Composer’s Magnum Opus Project for three California orchestras that will perform the piece over the next three years: the Santa Rosa, Oak-land East Bay, and Marin Symphonies.

Trio for violin, cello, and pianoThis work is in two movements of extremely contrasting character. The first movement, “Life Cycle,” consists of four sections, each based upon the pulse of a quickly beating heart. The music changes considerably from section to section, but the basic pulse or beat remains constant. I heard my son’s heartbeat for the first time a few months into my wife’s pregnancy and was very sur-prised at how rapid it was. This rapid pulse became the basis for the first movement.

The second movement, “Agnus Dei,” repre-

sents the sacred, and is mysterious and lyri-cal in character. The structure of the move-ment is modeled after the 3-part form of the Agnus Dei prayer:

Agnus Dei, qui tollis peccata mundi, miserere nobis.Agnus Dei, qui tollis peccata mundi, miserere nobis.Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who takes away the sins of the world, have mercy on us.Lamb of God, who takes away the sins of the world, have mercy on us.Lamb of God, who takes away the sins of the world, grant us peace.

It opens with a violin melody, full of pitch bends, played over a cello drone. This mel-ody is then passed on to the cello, finally cadencing with all three instruments. This material is then repeated (much like the rep-etition of the first line of the prayer), but at a different pitch level. The music then moves on to a more developmental section, still containing the original tune, but ultimately ends up in a different place (much like the last line of the prayer).

While I was working on this movement, Mother Teresa passed away. I therefore chose to dedicate this movement to her life and works.

in seven or eight movements). Instead, the project grew into its own as my work on it progressed. The only movements taken from the chamber piece are “Air” and “Country Dance.”

“Strand” is a kind of pop tune where the cello has the vocal line. The piano supplies the harmonies and rhythms against which the cello sings. Differing from an actual pop tune, the rhythms are a bit more complex and sometimes jarring.

“Air” takes its language from the Baroque. The title refers to the Baroque “canto” style of long legato vocal lines over a slow, undu-lating accompaniment.

“Country Dance” is a peasant tune. The middle section is very pastoral, including church bells; one might imagine the drone of bagpipes over the countryside.

Very different from the preceding move-ment, “Blues” offers a chance for the per-formers to show a little soul.

As with “Strand,” “Song” is a pop tune. This one is a bit more direct in its tone and more instantly memorable as it draws its lan-guage from the late 1970s and early 80s.

PIERRE JALBERT (b. 1967)Trio for violin, cello, and piano (1998)7 I. Life Cycle 8 II. Agnus Dei

Pierre Jalbert served as composer-in-resi-dence with Music in the Loft in 2003. He is currently Associate Professor of Composi-tion and Theory at Rice University’s Shep-herd School of Music in Houston. He has received numerous awards for his compo-sitions, including the Rome Prize, BBC Mas-terprize, a Guggenheim fellowship, BMI and ASCAP Awards, a Society of Composer’s Award, and the Chamber Music Society of Lincoln Center’s 2007 Stoeger Award for chamber music.

Jalbert’s compositions have been per-formed throughout the United States and abroad, including four Carnegie Hall per-formances of his orchestral works, among them the Houston Symphony’s premiere of big sky in January 2006. The London Sym-phony Orchestra performed his In Aeternam at the Barbican Centre in London as part of the BBC’s Masterprize Competition in 2001, in which he received first prize. He has also received commissions and performances from violinist Midori; the Chamber Music So-ciety of Lincoln Center; the Seattle, Albany, Vermont, Fort Worth, and Santa Rosa Sym-phonies; the Fischer Duo, Pittsburgh New