Catalog

Ethereal, uplifting, and deeply impactful throughout. The works on CELESTIAL VOICES check these boxes and more. Featuring sacred choral works from several contemporary composers, this offering from Navona Records is a musical exploration into the divine that’s ready to be experienced in both stereo and Dolby Atmos immersive audio formats. Modern harmonies and rhythmic freedom, new settings of famous hymns, fragments of plainchant that highlight contemporary topics, and more are expressed with clarity and spirit by The Kühn Choir of Prague in this release, who are joined by supportive instrumentalists at various points in the program.

A CHRISTMAS FEAST from Alyssa Reit celebrates the rich tradition of Christmas carols across multiple cultures and centuries. The album features 20 instrumental chamber arrangements of carols performed on harp by Ms. Reit along with violin, flute, French horn, and cello. She includes familiar classics like O Come, O Come Emmanuel and Ding Dong Merrily on High, as well as 17th-century English songs such as Blessed Be That Maid Marie and I Saw Three Ships, the Appalachian carol Star of The East, the 15th-century French Noel Nouvolet, and many more. Aptly named, A CHRISTMAS FEAST serves a bountiful collection of joyful carols from throughout the ages.

GRAMMY-nominated conductor Eugene Rogers brings to life Jocelyn Hagen’s setting of the Roman Catholic Mass in AMASS. This work stands apart from the Mass settings of other composers who have practiced this centuries-old genre, including Johann Sebastian Bach and Franz Joseph Haydn. While the music relies on the traditional Mass structure, it incorporates the spiritual writings of a diverse group of thinkers, ranging from a Muslim woman writing in the sixth century to a German theologian tried as a heretic 500 years later. In this way, the music is less about a particular religion but instead reaches toward the ineffable.

Few things have informed and inspired as much music as humanity's search for God. Acclaimed baritone, arranger, and conductor Courtney Carey explores the relation between the worldly and the divine on I WANNA BE READY, a set of 12 spirituals arranged for different instrumentations — and each piece packs a punch. Six of them are songs for a solo voice (soprano or baritone) and piano, and Carey, being a trained vocalist himself, deploys this setup to its fullest effect, allowing for powerful brilliance. The other half are choral pieces, which are furnished with extra layers of depth and vigor by the splendidly expressive Concert Chorale ensemble. Even individually, these spirituals would be remarkable; together, they are a tour de force.

Hilary Tann’s profoundly lyrical sacred works shine in LUMINARIA MAGNA, a striking and inspiring collection of songs featuring the voices of Cappella Clausura — led by Amelia LeClair — and the exceptional organ performance of Heinrich Christiansen. Tann’s Welsh heritage and homeland is palpable in these sincere musical devotions, transporting listeners to the foggy moorlands of South Wales. Her profound textual setting captures the rich legacy of Welsh hymnals, while simultaneously pulling text and inspiration from the Japanese Haiku and plainsong traditions. There’s no doubt that the chilling and earnest devotions of LUMINARIA MAGNA will captivate listeners in a varied and rich landscape of uniquely sacred songs.

The essence of Tonči Huljić’s music is eclecticism, his Western melodic style fused with the rich instrumentalism of the Mediterranean and the world resulting in a completely new spirit. This MEDITERRANEAN POP MASS, recorded in Split, Croatia, thoughtfully blends traditional orchestral and modern sounds in exciting ways, infusing iconic classical works with groove, reignited passion, and an appreciation of the conventions of today’s musical idioms. Featuring an orchestra, choir, modern rhythm section, and soloists Hana Huljic, Lorena Bucan, Karlo Vudric, Huljic conjures an atmosphere like no other in his compositions, a satisfying listening experience for anyone who appreciates where music has been, and where it is going.

On LORD, HOW COME ME HERE?, composer Shawn Okpebholo turns the mirror of history on today’s society with his own work and a reimagined collection of spirituals by enslaved Africans and American folk hymns that draws upon music from the past to critique contemporary racial injustices in the United States and around the globe. An ensemble of mezzo-soprano (J’Nai Bridges), baritone (Will Liverman), piano (Paul Sánchez), cello, and flute poignantly bring Okpebholo’s music to life, from hopeful anthems celebrating community to laments between a mother and her Creator and hymns celebrating faith and hope over hate and fear.

Soprano Maria Clark and pianist Maria Thompson Corley navigate the intense emotion, scars of suffering, and religious passion in the hymns and gospels on SOUL SANCTUARY from Navona Records. Featuring empowering spirituals from the past two centuries, the duo brings to life religious songs that have stood the test of time and find deep relevance today. Arranged by Thompson Corley and recorded in Atlanta GA’s Peachtree Presbyterian Church, these spirituals, including His Eye is on the Sparrow, Wade in the Water, and Glory, Glory, Hallelujah, offer uplifting outlooks in the face of adversity.

One does not have to be religious to appreciate the depth, inspiration, and melodiousness of PSALMS, Eloise Hynes Stowe's new album from Navona Records. Scored for voice and piano, and occasionally supplemented by flute and violin, these psalms and hymns immediately demonstrate the literary and emotional grasp of the biblical texts and ecclesiastical interpretations.

The Jitro Czech Girls Choir, under the leadership of conductor and music director Jiří Skopal, presents yet another vivid exploration of the depths of traditional Czechoslovakian music on their fourth release with Navona, JITRO IN HEAVEN. The tone for the album is set by Liturgical Chants, five pieces which express the spiritual and musical code of European culture. These pieces are composed by Petr Eben, an icon of 20th-century Czech music.

Composer Michael G. Cunningham introduces the beauty of sacred choral compositions with the unique energy of the live recording. “Ecumenical” is defined as the promotion of unity among different Christian churches across the world, and ECUMENICAL SPIRIT celebrates the unifying powers of music as it transcends the borders of all differences.

German philosopher Immanuel Kant defined the Sublime as "beauty accompanied by awe" – a thought which perfectly encapsulates the spirit of Cappella Clausura's second PARMA release, BIRDS OF THE PSALMS. Evocatively conducted by Amelia LeClair, the ensemble interprets a magnificent choral repertoire spanning six centuries.

We welcome Tucker Biddlecombe to the PARMA Recordings family with the debut of Music In The Listening Place, a collection of choral works performed by the Vanderbilt University Chorale and conducted by Biddlecombe. Biddlecombe demonstrates masterful programming in his ability to curate a modern listening experience based on mostly classical texts. Of particular note is Three Songs of Faith, an elegant collection of settings of e.e. cummings texts by Eric Whitacre.

With PARALLEL WORLDS, Czech composer Jan Jirásek provides a portal into his intricately textured and resonant choral music. These works are enhanced by Czech children’s choir JITRO, whose singers imbibe Jirásek’s delicate and earnest compositions with authority, maturity, and captivating grace.

Navona Records welcomes Cappella Clausura, directed by Amelia LeClair, to the family with their new release of the choral works of Hilary Tann, entitled EXULTET TERRA. For the first half of the album, LeClair and Tann juxtapose Tann’s works for women’s voices, a cappella, with pieces by Hildegard von Bingen, in soaring arrangements by LeClair.

CADENCE, the new vocal music compilation from Navona Records, offers a set of inspired, emotive premiere recordings by composers Christopher J. Hoh, David Kirtley, Joanne D. Carey, and Timothy Kramer in works juxtaposing the ethereal and the earthy, the diaphanous and the muscular, and the serene and the agile.

The music of Alan Beeler (1939-2016) is frequently a compact, tightly focused one, presenting sharp contrasts of color and mood in the context of clear, direct compositional structures. Although noticeably influenced by artistic movements in Europe and America during the first half of the 20th century, Beeler’s musical voice is an identifiable one – crisp, bold, and pointedly quirky.

The lineage of Western concert music is one which brims with tradition and history, through teachers and pupils, listeners and performers, spanning centuries and continents alike. But one of the common threads which runs through this lineage is the urge by composers, performers, and audiences to all be part of a transcendent emotional experience through music itself.

On his latest release on Navona Records, WISDOM-LOVE-ETERNITY, composer Michael G. Cunningham presents a collection of his choral works, performed by the Kühn Choir of Prague conducted by Marek Vorlíček, which explore the spiritual element of the human condition, addressing the uncertainty of death, the inexpressible emotion of love, and humans’ search for an understanding of God.

Excerpts from the Bible, text from the Middle Ages, and traditional instrumentation (organ, orchestral, and choral) form the basis of six composers' inspired works on FOUNDATIONS to create stirring, new contemporary classical music. By connecting to the roots of historical texts and musical conventions - in some cases the foundations of our collective cultures - these pieces present a modern spin on traditional materials, sounds, and forms.