Catalog

Blending vocal and orchestral elements across several movements, cantatas are notoriously difficult to compose. Benjamin Perry Wenzelberg has accepted the challenge with ANY OF THOSE DECEMBERS, setting poems by Jeanne Minahan to music. The result is intimate, aesthetic, and wistful — a tender embrace of lyrics and sound.  Scored for four solo singers with varying accompaniments, ANY OF THOSE DECEMBERS impresses on multiple fronts. But it isn't due to the excellent source material alone: the master performers in Lyric Fest bring both the lyrics and the composition to life. A wonderful collaboration, in which the whole is even greater than the sum of its parts, Wenzelberg’s work is “a cantata to make memories sing.”

SONATA FOR FLUTE AND PIANO by Timothy Schmalz is a vibrant and eclectic three-movement piece. This technically-demanding sonata incorporates a wide range of musical styles, inspired by Schmalz’s years spent studying works from the classical and pre-Romantic periods as well as the 20th and 21st centuries. The musical vernacular of the work is at once daring and playful, with the final movement representing a full “dream cycle.” Likened to a “musical children’s book” by the composer, this piece — Schmalz’s first foray into sonatas for small chamber ensembles — invites listeners young and old into the realm of imagination.

A resilient voice for new music, Eric Allen conducts the Texas Tech University Contemporary Music Ensemble in SHIFTING DIRECTION, a collection of three works by composers Joan Tower, Jennifer Jolley, and Jennifer Higdon. Elevated by Allen's precise conducting and careful attention to detail, SHIFTING DIRECTION provides three unique listening directions for contemporary music enjoyers to delight in. In Petroushskates, Tower paints an image of a carnival on ice, a whirling winter affair inspired by the thematic material of Stravinsky's Petrushka as it appears in the opening Shrovetide fair sequence. Weaving and flowing, the music creates the graceful effect of seeing a figure skating routine. Jolley's Blue Glacier Decoy pays tribute to the path of modern dancer and choreographer Trisha Brown, who revered the glacier and incorporated its landscape and movement into her work. SHIFTING DIRECTION closes with a bang — or rather, a zap — with Higdon's Zaka, a word which is defined as doing the following at great speed: zap, sock, race, turn, drop, sprint. The ensemble moves at an electric pace to capture the essence of the term.

Navona Records is pleased to present Mirórs, the first single from composer Michael Slayton’s forthcoming album SAGE BRUSHES. Mirórs seeks to honor the visionary work of Spanish painter and sculptor Joan Miró (1893–1983). Each movement highlights the flute, violin, and clarinet, respectively, attempting to aurally render the thematic heartbeat of Miró’s work.

“Masterful music invites performers to accept and rise to all challenges,” says flutist Lindsey Goodman, who along with pianist Clare Longendyke brings an exhilarating cross section of contemporary chamber works to life on IN THE COMPANY OF MUSIC. From evocative miniatures to pensive, multi-movement works, this Navona Records release showcases the breadth of compositional styles in which the flute can shine, exploring traditional expressions, the avant garde, and everywhere in between. These pieces are remarkably diverse, and so are the inspirations behind them — from major events in human history to pure musical curiosity and more.

Passion and intellect meld in THE BOOK OF SPELLS, the Merian Ensemble’s hotly anticipated debut album. The album is comprised entirely of world premiere recordings, with works by Clarice Assad, Nicole Chamberlain, Jennifer Higdon, Mary Kouyoumdjian, Anne Leilehua Lanzilotti, Soon Hee Newbold, Kimberly R. Osberg, and Lynne Plowman, each but one* commissioned by the Merian Ensemble. The Book of Spells offers a gripping and intimate portrait of modern chamber music, performed with brilliance and precision by an ensemble of world-class soloists who are dedicated to the elevation of women’s voices in classical music. Clarice Assad’s titular composition, The Book of Spells, opens the recording with three movements “inspired by rituals that deal with magic, which is done to achieve a particular goal, righteous or wicked” (Assad). The album continues, weaving together elements of folklore, faith, and science, with Nicole Chamberlain’s Atalanta, Lynne Plowman’s Small World, Jennifer Higdon’s The Sound of Light, Mary Kouyoumdjian’s A Boy and a Makeshift Toy*, Kimberly Osberg’s Just Another Climb, Soon Hee Newbold’s Alis Volat Propriis (She Flies With Her Own Wings), and Clarice Assad’s Solais. And in meridian, Leilehua Lanzilotti explores the themes of metamorphosis, inspired by the Merian Ensemble’s namesake, Maria Sibylla Merian (1647–1717), a German entomologist, naturalist, and scientific illustrator, whose work is featured on the album’s cover and book.  Taken as a whole, The Book of Spells offers a finely-drawn portrait of 21st century chamber music — the compelling repertoire, composers, and performers — while also highlighting the still-underrepresented voices of women in classical music. *Mary Kouyoumdjian’s A Boy and a Makeshift Toy was originally commissioned by Michael Hall as a piece for viola and piano; it is presented here in a new Merian Ensemble arrangement.

Navona Records is pleased to present UNSEEN PATHS, a variegated collection of works by late composer Lawrence K. Moss. Well known for his diverse musical oeuvre spanning vocal, instrumental, and electronic works, UNSEEN PATHS shows us a deeper look into his mastery in the chamber music genre, from flute and piano duos to music for string quartet, operas, and more. As a valediction to a remarkable career, this collection is a timeless tribute to Moss' enduring legacy, inviting listeners to savor the depth and brilliance of his artistic voice.

Navona Records is pleased to present ELEVATE, the second installment of All Classical Radio’s award-winning Recording Inclusivity Initiative. A response to the industry’s inequities in classical music recordings, the RII highlights music from underrepresented communities to build a more diverse and inclusive soundscape around the world. Bringing to life the sonatas of Yuko Uébayashi and Nobu Kōda and a string quartet by Damien Geter, ELEVATE pairs deserving compositional talent with several of today’s leading classical performers — a synergetic testament to the power of uplifting each other in the arts.

Ferdinando DeSena’s TURNING POINT is an experimental odyssey, an enticing collection of music that reimagines the timbres of familiar instruments like flute, piano, the human voice, and more. The title piece uses the audio synthesis technique called “convolution” in which musical audio samples are digitally joined with the sound of cymbal strikes and crashes to dramatic effect. In Sonorous Earth, DeSena conducts a different sort of experiment, this time by scoring for all the lower relatives of a woodwind quintet. An impressive tour de force, TURNING POINT leaves listeners with an expanded sense of what is possible in the realm of chamber music.

Virtuoso Linda Wiley performs four flute sonatas from 19th and 20th century composers on FOUR SONATAS FOR FLUTE AND PIANO. The album fulfills her aspiration to record pieces that are both challenging and also personally meaningful to her. These include Sonata For Flute And Piano by Francis Poulenc, Sonate Pour Flûte Et Piano by Jindřich Feld, Sonata In A Major by César Franck, and Recuerdos De Mexico, Sonata for Flute and Piano by Arthur Gottschalk. Many of the works share a connection to legendary French flutist Jean-Pierre Rampal; Wiley’s flute mentor Jan Cole studied under Rampal for five years, and Wiley is proud to carry on her musical lineage in this Navona Records release.

SONIX AND OTHER TONIX is a collection of innovative chamber works from composer Jan Järvlepp. The title refers to his piece Sonix for Ónix, composed for the Ónix Ensamble of Mexico. It combines elements from his most popular chamber and orchestral works, Pierrot Solaire and Garbage Concerto, respectively. The album also features Trio No. 3, a three-movement work for violin, cello, and piano which protests the rise of the surveillance state. SONIX AND OTHER TONIX also includes Shinkansen, which takes listeners for a ride on a Japanese bullet train, and In Memoriam, written for the composer’s late brother. Spanning a diverse range of topics and influences, SONIX AND OTHER TONIX exemplifies the iconoclastic creativity for which Järvlepp is known.

If there were two words to describe Nathan Froebe’s musical output, they would be: exuberant and ruminative. In fact, these two attributes might arrive at a tie on TWO BY THREE, a selection of energetic freetonal, programmatic pieces for a myriad of flutes and piano. The thoughtful nature of these works is apparent even in their respective titles: Meditation, Three Scenes for Wind and Hammer, and Essay for Piccolo, Piano, and Alto Flute, to name but a few. Meticulously composed by Froebe and impeccably performed by flutists Jessica Raposo and Mihoko Watanabe with pianist Michael Seregow, TWO BY THREE sweeps through the mind like a fresh breeze on a crisp April morning.

SONIX+, a collection of new works from cellist and composer Jan Järvlepp, is some of his most creative and defiant. The title piece, composed for the Ónix Ensemble of Mexico, draws upon elements from Järvlepp’s renowned works with a hidden theme from the 1960s sprinkled within. Trio No. 3 incorporates a very different concept from 1960s culture: protest music. The piece cries out against the constant surveillance that takes place in modern life, from cameras on every street corner to keyword tracking on search engines. Järvlepp’s music is unrelenting, one-of-a-kind, and inspired — a well balanced blend of time-tested virtuosity spoken through modern themes.

Treat yourself to the fantastical, whimsical, and sometimes mischievous nature of Paul Kopetz’s MYTHICAL CREATURES, featuring a song cycle on the poetry of Svyetlana Hadgraft and a variety of inspired portraits. Each of the 10 movements is a musical impression of a mythical creature that has existed in the folklore of various cultures around the world since the beginning of time. With an emotionally broad music that highlights Kopetz’s remarkable compositional range, there’s something for everyone in this release, especially for those with a penchant for the characteresque vocal works of the 20th century.

Sarah Wallin Huff returns to Navona Records with SHARDS, a wide variety of compositions that explore life, love, death, and the philosophy and mysticism that make up the in-betweens. True to the unique identity of Wallin Huff’s admirable body of work, the compositions building SHARDS structure themselves around brilliantly original frameworks while also delivering a philosophical, thoughtful structure to the album. Wallin Huff sufficiently and spectacularly elaborates upon her identity as a self-described “stream-of-consciousness composer” in this contemplative and explorative journey, a comprehensive album sure to make waves with its mystical nature.

Modern traditionalist composer Garth Baxter’s album ASK OF ME WHAT THE BIRDS SANG presents a wide variety of instrumental works as well as vocal music; each of these unique pieces has a special connection with a song. When Lights Begin to Show, for example, includes a musical quote from “Afternoon on a Hill,” which is the first song in Three Poems from Edna St. Vincent Millay. The songs referenced sometimes come from earlier works by Baxter or borrow from folk music. An unabashedly lyrical composer, Baxter combines the traditions of form and clear melodic writing with contemporary approaches to harmony and other elements.

Globally recognized for its unique radio programming, innovative collaborations, and community outreach, All Classical Portland presents AMPLIFY, a response to the industry’s inequities in classical music recordings. The works of five contemporary composers are brought to light in this album, each infused with recollections of stories, cities, and movements that have made an impact along the artists’ journey. As the 1,000th album brought to life by parent organization PARMA Recordings, this important Navona Records release marks a monumental achievement in highlighting voices in classical music, and is a step in helping to change America’s playlist.

Following their Navona Records debut in 2019, Duo Sequenza returns with YES… IT’S STILL A THING!, a new program geared towards building new audiences for today’s classical music and promoting the work of living composers. Comprised of flutist Debra Silvert and classical guitarist Paul Bowman, Duo Sequenza brings an enchanting and harmonious quality that showcase the complementary capabilities of their respective instruments. From emotive and introspective works to scenic vistas painted in sound, the duo once again proves their musical chops and adaptability across a wide array of compositional styles.

TIME AND THE HOUR from Israeli-born composer Ayala Asherov is a selection of chamber works tied together by the theme of the passing of time. Asherov’s acknowledgment of time moving us forward in constant motion is a significant piece of the composer’s compositional process, translated into her work with titles such as Seasons and Crystal Watch. This carefully curated collection of Asherov’s pieces commissioned and performed throughout the years provides a thorough taste of the composer’s communicative and powerful musical style.

On KASSANDRA, composer Anthony Brandt and librettist Neena Beber explore two leading issues of our times — climate change and sexual harassment. Based on the Greek myth of Apollo trying to seduce Trojan princess Cassandra, Brandt and Beber tell the tragic yet familiar story of Kassandra, a scientist whose forecasts of climate change are discredited as a result of rejecting sexual advances from a venture capitalist. In the ancient myth, Apollo places a curse on Cassandra: she will see the future but no one will believe her. In today’s world, scientists face a similar curse, their warnings of our warming planet too often ignored. Brandt and Beber’s chamber opera challenges us to heed Kassandra’s predictions.