Acknowledgments Recorded in Kilbourn Hall, Rochester, New York Produced by Phillip Traugott (Tracks 2, 4-16) Produced by Bill Dobbins (Tracks 1, 3) Engineered by John Ebert Mastering at Red Creek Studios by Dr. Anton Machleder Photography by Kate Lemmon at 2Vine Restaurant, Rochester, New York Liner notes by Margaret Coote

Publishers Night Dreamer by is published by Miyako Music. ’Round Midnight by B.D. Hanighen, T. Monk and C. Williams is published by Thelonius Music Corp. Night Strings Night in Tunisia by is published by Universal Music Corporation. s Suite Popular Espagnole by Manuel de Falla is published by Max Eschig. Sonata by Radamés Gnattali is published by Chanterelle. Into the Radiant Boundaries of Light by Samuel Adler is published by Theodore Presser. Hispanic Fantasia by Michael Kimber is published by Soundpoint Music.

www.albanyrecords.com TROY1257 albany records u.s. 915 broadway, albany, ny 12207 [ music for viola and guitar ] George Taylor, viola | Nicholas Goluses, guitar tel: 518.436.8814 fax: 518.436.0643 albany records u.k. works by Bill Dobbins | Manuel de Falla | Samuel Adler | Radamés Gnattali | Michael Kimber box 137, kendal, cumbria la8 0xd This recording was produced tel: 01539 824008 © 2011 Albany Records made in the usa with assistance from Eastman DDD warning: copyright subsists in all recordings issued under this label. School of Music. This recording leads us through the various phases and moods accounts for most of the standard classical great inspiration. While living in Paris from of night: the first shadow, which both softens and defines shapes and sensa- repertoire through the first half of the twentieth 1907 to 1914, de Falla also met and was century,” Dobbins writes. “I am thrilled with influenced by the work of Impressionist tions; darkness, at times soft, at times hard and stern; those hours in which we the performances of this dynamic duo, and composers such as Claude Debussy, Paul Dukas inhabit and shape the night, sometimes staving it off; and then, when no one is am happy that they chose to include them and Maurice Ravel. The song cycle on which awake any longer, that moment when everything gives way, and night swells. on this recording.” the Suite Popular Espagnole is based was written during a fertile creative period upon his return The sounds of night abound here: lullabies and all kinds of song, gusts of Night Suite (2005) to Madrid. wind, the crackling of a fire gone down low, shouts, laughter and music from The Night Suite began with an arrangement a party, guitars, castanets, more singing. Light, perhaps all the more present for of Thelonius Monk’s ’Round Midnight for viola Suite Popular Espagnole (1915) being thrown into relief, is here too: quick flickers of flame, the burning of and guitar that George Taylor requested of The six songs of the Suite represent a range of pianist and composer Bill Dobbins. The success Spanish regional musical styles, including the lanterns surrounding a dance floor, the twinkling of stars, steady moonshine. of this work inspired two further transcriptions, jota of Aragon and flamenco of Andalusia, as well George Taylor and Nicholas Goluses capture all these moods and colors, the those of Wayne Shorter’s Night Dreamer and as a range of emotional landscapes. In Asturiana, timbre and sonority of the viola and guitar blending and interweaving beau- Dizzy Gillespie’s Night in Tunisia. Together a melancholy song, the guitar creates a calm these bolder tunes form a perfect frame for the architecture onto which the velvety, soulful tifully. They play together with evident delight and an easy spontaneity, their more introspective ’Round Midnight. Taylor sound of the viola settles like the sun sinking interpretations of these works that explore light and dark and the limits and Goluses deliver these new interpretations behind a ridge. In Jota, sprightly rhythms and between them characterized by elegance, grace, warmth, and humor. of jazz classics with luminous grace and style. lush chords in the guitar underlie the ever- The viola opens Night Dreamer with a broad, changing characters of the viola – bold, shy, lush, improvisatory introduction; ’Round sweet, playful – and we can almost hear the Bill Dobbins Konitz, Dave Liebman, Peter Erskine, Paquito Midnight begins with gentle, muted chimes click of castanets. In Nana, a lullaby, the viola Bill Dobbins (b. 1947) is professor of jazz stud- D’Rivera and Kevin Mahogany, as well as for and a sparkling introduction in the guitar. sings tenderly over a steady, ringing ostinato ies and contemporary media at the Eastman classical pianists Katia and Marielle Labeque Taylor’s viola sings with supple, seamless in the guitar, with great heart, as if by a flame School of Music, where he teaches the jazz and the Kings Singers. Many of his publications sweetness. Night in Tunisia rounds off the suite kept alive, but kindled low. Polo is flamenco, at composing and arranging courses and directs for Advance Music are used in collegiate jazz with brassy verve and warm, playful humor. times almost severe, filled with passion and fire. the award-winning Eastman Jazz Ensemble and programs throughout the world. Eastman Studio Orchestra. Previously, Dobbins “I have always enjoyed composing or arranging was principal director of the WDR Big Band things for classical musicians who have an Manuel de Falla Samuel Adler in Cologne, Germany, where he continues as interest in jazz, so that they can experience Manuel de Falla (1876-1946) was born in Cadíz, Samuel Adler (b. 1928) was born in Mannheim, guest director, as well as with the Netherlands something of the musical exchange that goes on Spain. He studied , first with his mother Germany and grew up in Massachusetts, where Metropole Orchestra in Hilversum. He has between performers in that idiom and enjoy the and then in Madrid, where he also studied his father was cantor at a Jewish temple. He performed with and composed and arranged colorful and expressive manner in which jazz composition with Felipe Pedrell. Pedrell studied composition with Copland, Hindemith, music for dozens of internationally known jazz musicians continue to use the unique musical cultivated de Falla’s interest in Andalusian and Piston, and Thompson at Boston University and artists, including Clark Terry, Phil Woods, Lee language of chromatic tonality that, after all, other Spanish folk music, from which he drew Harvard, and conducting with Koussevitsky at Tanglewood. He served as music director at measure phrase at the beginning which becomes a traditional Brazilian guitar) at conservatory. Michael Kimber a temple in Texas before beginning his career the most important melodic gesture throughout. He eventually settled in Rio de Janeiro, where Michael Kimber (b. 1945), lives in Iowa City, teaching composition, first at the University It is varied, lengthened and tossed back and he worked in both classical and popular music where he is active as a viola soloist, chamber of North Texas, then at the Eastman School forth between the two instruments. Between as a pianist, composer and arranger. musician and orchestra musician, composer and of Music, where he taught from 1966 to 1995, the development of the melodic fragment are Gnattali’s fluency and love for a great variety professor. He performs with the Cedar Rapids was chair of the composition department, contrasting themes yet each is related to the of musical styles, from avant-garde, “erudite” Symphony and Quad Symphony Orchestras, and was awarded the Eisenhart Award for first few measures of the work. Three quarters classical to jazz, tango, samba and bossa nova, serves on the faculty of Coe College, and has excellence in teaching. He now teaches at of the way into the movement there is a climax can be heard clearly in his music. As a performing taught viola at the University of Kansas, the Juilliard School. where both instruments play sixteenth notes musician, he played in every possible context – University of Southern Mississippi, and He has written works for a great variety of and from there to the end stay together re- along with silent films, on TV and radio, with big University of Iowa. He has written many instruments and ensembles and has published exposing much of the previous material in a bands and smaller ensembles – every possible works for solo viola and viola ensembles; in books on choral conducting, sight singing and denser manner. style, and with every great performer of his day. 2010 he was given the Founder’s Award by orchestration. He has won many awards and The second movement contrasts the first As an arranger, he wrote music for all the great the American Viola Society in recognition of honors for his compositions, including member- by having a long viola melody introduced by Brazilian popular artists. His classical oeuvre his contribution to the viola repertoire. Of his ship in the American Academy and Institute guitar harmonics at the beginning. This melody is extensive, with works for a wide range of compositions he writes, “Sounding ‘contempo- of Arts and Letters and the Aaron Copland is taken up by the guitar and then developed instruments and ensembles, including several rary’ is not my goal; my ‘style’ depends on the Award from ASCAP for Lifetime Achievement through this short piece by both instruments important concertos for guitar. kind of music I’m writing. I find particular in Music. coming to a quiet close with the guitar recalling inspiration in writing music evocative of other the melody’s opening gesture. Sonata (1969) times and places.” Most important, he says, Into the Radiant Boundaries The final movement is a wild, ecstatic dia- Harmonies and rhythms inspired by Brazilian is that his music communicate “a broad range of Light (1993) logue between the two instruments which is music give this sonata a lush sultriness. The piece of emotions.” Into the Radiant Boundaries of Light (the title to give the feeling of storming and bursting opens (Allegro comodo) with a supple melody and coming from a line by Lucretius which Adler the Radiant Boundaries of Light. Almost half an easy, flowing accompaniment that is traded Hispanic Fantasie (1995) describes as dealing with “a person’s experi- way through there is a momentary slacking of between the two instruments, giving way to One of Kimber’s most popular works, the ence of art”) occupies a unique position in the the energy with a quarter rest silence in both more contemplative, improvisatory interludes. Hispanic Fantasie evokes the landscape and repertoire as the first original work for viola instruments, but the energy quickly resumes The second movement (Adagio) has a more atmosphere of Spain and the spirit of flamenco, and guitar together. It was written for Nicholas and carries all the way to the very end.” melancholy character, featuring beautifully in turns fierce, tender and grave. It is, in Goluses and violist John Graham and designed sustained and articulated melodies on the guitar Kimber’s words, “inspired by the captivating to showcase both instruments, Adler explains, and a haunting, muted accompaniment from rhythms and colorful harmonies of traditional as “equal partners”: Radamés Gnattali the viola. In the third movement (Con spirito) music of Spanish-speaking peoples, [featuring] “The treatment of instruments is idiomatic, Radamés Gnattali (1906-1988), was born viola and guitar capture the spirit and energy modal harmonies, irregular off-beat rhythms, but since they are both ‘mellow’ instruments of in Porto Alegre, Brazil to Italian musician of a dance party continuing into the night, the hemiolas, and triplet[s]…[offering] the violist the string family, they are treated equally and parents. He studied piano from an early age, viola at times blending with the guitar, at times an opportunity for bravura display, rhapsodic perform the same music throughout […] in later learning violin and various other instru- stepping out to perform in the foreground. lyricism, passages based on octatonic scales and the first movement the viola introduces a two ments (including the viola and the cavaquinho, other exotic interval patterns, quasi-improvisatory rhythms including fives and sevens, and idiomatic Orchestra, Manhattan Symphony, Louisiana Eisenhart Award for Excellence and has served George Taylor has given numerous solo recitals cadenzas.” This arrangement for viola and guitar, Sinfonietta, Jacksonville Symphony, and Macon as chair of the string department. Goluses has and appeared as a chamber musician in concerts which as Kimber says, “seems especially appro- Symphony. He enjoys an active duo with flutist held the Andrés Segovia Faculty Chair at the throughout the United States and at the Tainan priate for music conceived in a style in which Bonita Boyd and has collaborated with the Manhattan School of Music where he received Cultural Center in Taiwan. He was co-founder the guitar has always played a significant role,” American and Ying String Quartets. Goluses the Doctor of Musical Arts degree, and was the and conductor of the St. Stephens Chamber was commissioned by George Taylor, transcribed has recorded for Albany, BMG, and for Naxos. recipient of both the Pablo Casals Award “for Orchestra (Durham, North Carolina), an ensem- by guitarist John DeChiaro and revised by Nicholas Goluses has received wide critical and audience Musical Accomplishment and Human Endeavor” ble that has continued to perform and record Goluses. With the Fantasie, performed with vir- acclaim for his CD of sonatas of Johann Sebastian and the Faculty Award of Distinguished Merit. together. An active advocate for the performance tuosic flair and drama, this joyful collaboration Bach: “Played with masterly control of form and Dr. Goluses is in great demand for master classes of music by African/American composers, Taylor is brought to a brilliant close. substance” (Cleveland Plain Dealer); of his new CD at leading institutions throughout the world. was a participant in the National Black Arts of late guitar works of Fernando Sor, Fanfare He is currently on the Board of Trustees of the Festival held in Atlanta, Georgia. He was also a wrote: “Nicholas Goluses plays superlatively” Guitar Foundation of America. For further member of the Black Music Repertory Ensemble, About The Artists and Classical Guitar (London) wrote, “his perfor- information, please visit www.goluses.com. which presents music of African/American “Wit, charm, virtuosity, and depth of feeling, mance compels the highest praise.” With flutist composers in concerts throughout the country. adding up to the humanity to which all artists Bonita Boyd, he has recorded the music of Joan Mr. Taylor has performed and premiered works should aspire. A model of virtuosic display. Tower, Roberto Sierra, and Katherine Hoover “In the hands of an outstanding artist like written for him by many composers, including Goluses was dazzling,” wrote the New Jersey and Augusta Read Thomas’ new Duo Concerto for Taylor, the instrument seems almost heaven-sent,” Ron Carter, Noel DaCosta, George Walker, Star Ledger about Nicholas Goluses, one of Albany Records, of which the American Record wrote John Lambert in the Spectator of George David Liptak and Carmen Moore. America’s most sought-after guitarists. The New Guide writes: “Among the recent recordings of Taylor, violist. Taylor is active in practically A native of New York City, Mr. Taylor York Times wrote: “Goluses produced an elegant flute and guitar this one is in a league of its every aspect of performance as soloist, recitalist attended the Manhattan School of Music where sound. And the finales, taken dangerously fast, own.” The duo has released their second CD with and chamber musician, and his playing has been his teachers included Jaime Laredo, Raphael were accurate, transparent, and impressively Albany Records, Quicksilver, which includes the praised for its eloquence, warmth and sensitivity. Bronstein and Burton Kaplan. Further studies articulated. Mr. Goluses gave persuasive, complete Mountain Songs by Robert Beaser, Songs Mr. Taylor is currently Associate Professor of on viola were with Michael Tree and Abraham energetic readings.” The Generalanzeiger (Bonn, for Persephone by David Liptak, and Histoire du Viola at the Eastman School of Music. Before Skernick. Mr. Taylor’s chamber music mentors Germany) acclaimed: “Goluses reached the Tango by Astor Piazzolla. Committed to per- joining the Eastman faculty, he was a member include such notables as Arthur Balsam, Joseph highest levels of instrumental virtuosity.” forming new music for the guitar, Goluses has of the Ciompi Quartet of Duke University, a Seiger, Lillian Fuchs, Joseph Gingold, Mischa Nicholas Goluses appears as soloist, chamber given world premiere performances of numerous position he held from 1979 through 1986. A Schneider, and members of the Guarneri Quartet. music player and with orchestras across North concertos for guitar and orchestra as well as more dedicated, sought-after and beloved teacher, he He made his recital debut at Carnegie Recital America, South America, Europe and the Far than 100 solo and chamber works by many of has served on the artist faculties of Musicorda, Hall in 1979. Joseph Horowitz of the New York East to critical acclaim. Goluses has been a today’s leading composers. the Encore School for Strings, the Meadowmount Times wrote: “He is already an unusually accom- featured performer at major festivals throughout Nicholas Goluses is Professor of Guitar and School, the Manchester Music Festival and the plished player, with a secure command of the the world and has performed as concerto soloist founder and director of the guitar programs at Elan International Music Festival, among others. instrument, and an ardent, refreshingly direct with the Savannah Symphony, New Jersey the Eastman School of Music, widely recognized He has also served as a juror for international style.” For further information, please visit Symphony, Colorado Springs Symphony, as one of the world’s leading centers for guitar competitions in Europe and the United States, www.georgetaylorviola.com. Rochester Philharmonic, American Wind study, where he has been the recipient of the and is on the board of the American Viola Society.

NIGHT STRINGS NIGHT NIGHT STRINGS { music for viola and guitar } George Taylor, viola | Nicholas Goluses, guitar TROY1257

arr. BILL DOBBINS SAMUEL ADLER George Taylor, viola | Nicholas Goluses, guitar Night Suite (2005) Into the Radiant Boundaries of Light (1993) 1 Night Dreamer (Wayne Shorter) [4:01] 10 Delicate and Quite Fast [4:24] 2 ’Round Midnight (Thelonious Monk) [7:12] 11 Slowly and Freely Moving [3:17]

3 Night in Tunisia (Dizzy Gillespie) [4:32] 12 Fast and Rhythmic [3:31]

MANUEL de FALLA RADAMÉS GNATTALI Suite Popular Espagnole (1915) Sonata (1969) 4 El Paño Moruno [2:13] 13 Allegro Comodo [4:22] 5 Asturiana [2:41] 14 Adagio [3:17] 6 Jota [3:35] 15 Con Spirito [3:56] 7 Nana [3:01] 8 Canción [1:28 9 Polo [1:22] MICHAEL KIMBER 16 Hispanic Fantasie (1995) [6:02]

George Taylor, viola | Nicholas Goluses, guitar Total Time = 58:56

WWW.ALBANYRECORDS.COM TROY1257 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TROY1257 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2011 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. NIGHT STRINGS