Genre: Chamber

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.

Inspiring curiosity, cultural interaction, and deep listening, INK TRACES reflects violinist Julia Glenn’s 15-year journey exploring Chinese culture and interactions between Chinese language and music, fueled by frequent trips and three years living in China. This Navona Records release reflects a greater interdisciplinary approach seen in Chinese arts - one that blends poetry, dance, painting, calligraphy, and music and shows fascinating interchanges between gesture and sound. The title, inspired in part by Pan Kai's Ink Traces of Sigh for solo violin, is a nod to such interplay. The album explores three threads: probing the musical-linguistic play possible in the music of Chinese speakers, broadening perspectives on Chinese music, and fostering cultural dialogue between China and the United States. It features works by Chinese and Chinese-speaking composers, stretching traditional Western musical boundaries to create rich, imaginative soundscapes and processes.

Eric Schultz’s masterful clarinet playing speaks in new and known tongues on POLYGLOT, a concept album celebrating music as a language of cultural identity and the self. A strong advocate of living composers, Schultz opens with an engrossing performance of Iván Enrique Rodríguez’s Sonata Santera, exploring the development and evolution of three Caribbean Santeria rituals. Schultz captures the enchanting, mystical nature of the rituals between the rhythmic, driving movements, occasionally accompanied by percussive elements.  Schultz follows with Críptico no. 9: DAVЯTHAN, an interpretive piece that centralizes language and text-setting at the core of its composition. Shortly followed is Johnny Navarro’s romantic Danzón, a nostalgic work punctuated by fleeting moments of sensuality. The same intimacy is carried into Chiayu Hsu’s Summer Night in a Deep Valley, showcasing meditative episodes on the natural beauty expressed in Guo Xi’s Chinese landscape paintings. Likewise, Gabriel Bouche Caro’s Escenas explores a meditation on self-identity and its existence as a product of culture, the clarinet never languishing in melancholic passages, but always remaining reflective and curious. POLYGLOT culminates with the Brahms Trio, Op. 114, a composition inspired by the clarinet playing of friend Richard Mühlfeld, an inspiration so strong it served to pull the composer from retirement. To Schultz, a quarterfinalist for the 2025 GRAMMY® Music Educator of the Year, music is a hallmark of metamorphosis that drives cultural change across history, the performer and composer working in tandem to create something inspired and new — speaking each other’s language, you might say.

Anthony Brandt’s LIVEWIRE and MEETING OF MINDS features two innovative dance scores created for collaborations with NobleMotion Dance and the University of Houston IUCRC BRAIN Center that were part performance and part scientific experiment. In order to better understand how brains interact, several dancers wore mobile brain-body imaging devices, with live visualizations of the neural synchrony between their brains displayed in real time. Brandt’s music offers “sonic brain scans” that explore our mental lives and how we engage with others, from our most automated behavior to our most flexible and dynamic. These string quartets celebrate the human mind and the way it shapes our reality.

Fairy tales have deeply and consistently fascinated humanity throughout the centuries. Enter NEW ENCHANTMENTS, bassoonist Cornelia Sommer's exploration of magical archetypes that features music by living composers along with new arrangements by Sommer herself across six world premiere recordings. Sommer has also written a prize-winning dissertation on the subject of fairy tales in music, adding further depth to this performance that showcases her musical virtuosity, great feeling for nuance, lyrical storytelling, and profound expertise to illuminate every last detail. Enriching and engrossing, this album could not be more aptly titled.

VOICES FROM THE OTHER SIDE is a collection of evocative chamber works performed by cello octet — several with soprano soloist Gabrielle Haigh. Included are Arvo Pärt’s tintinnabuli-style Fratres as well as his L’abbé Agathon, inspired by the remains of a 12th-century leper hospital near Beauvais, France; as well as the beloved Bachianas Brasileiras No. 5 by Heitor Villa-Lobos. Two works by American composer Margi Griebling-Haigh are featured: the title piece is a setting of three otherworldly poems by Edna St. Vincent Millay, and a single-movement work called Cantilena allows the cellists to shine individually as well as together. Griebling-Haigh’s music has been praised for memorable melodies and strong rhythms; her colorful scoring and harmonic language have been compared to Barber, Ravel, and Poulenc.

Music about grief is a bit like medicine: most people don't reach for it until they find themselves in need. The Vertex Duo, composed of mezzo-soprano Kristin Gornstein and pianist Jeremy Chan, might sympathize, having created just this medicine for the soul in the wake of some of their darkest biographical hours. The result is JOY, TOO, a curiously wonderful collection of melancholy songs — so lyrical and beautiful, one doesn't have to be sad to want to listen to it. In case of misfortune however, it may well be sanity-saving: with its stirring melodies and poignant lyrics, JOY, TOO serves as a testament to the universal experience of sorrow, offering solace and understanding to those grappling with its impact.

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.

Lyrebird Brass presents the world premieres of five new contemporary brass quintets in BOOK OF BRASS, an album shaking up the scene with an assortment of boundary-pushing works by highly lauded and awarded composers. Opening with three time GRAMMY® award winner Jennifer Higdon’s Book of Brass, this titular composition can be played and listened to in any order one pleases. From the intense energy of “Ramp Up” to the puzzling, slowly unfolding maze of “Acrostic,” Higdon certainly knows how to sell a story. Alice Humphries is no stranger to puzzlings in Uncertain Meditations, which considers ideas in isolation, reflecting on their vast possibilities. Reflection is at the core of Grace-Evangeline Mason’s poetic As Bronze, too, and found even in Kate Neal’s Fanfare, which, composed during the 2020 lockdown period, challenges what a fanfare represents. Alan Holley rounds out the recording with The Goodchild Canzonas, a four movement work exploring atriums, cathedrals, and the heavens above, but perhaps most appropriately: the Lyrebird. BOOK OF BRASS is a winning installment in Lyrebird Brass's already impressive oeuvre, pulling out all the stops with spirited fanfares and contemplative odes.

What happens when two world class performers unite in their efforts to carry on the traditions and collaborative spirit of classical music? Cellist Ovidiu Marinescu and pianist Noreen Cassidy-Polera share a shining example on RESURGENCE. Featuring the works of several contemporary composers, this Navona Records release offers reflections on emergence and transformation, the throes of long distance love, the great artists of our past and present, the fusion of several musical influences, and more. Leveraging refined elegance in sound and raw virtuosity in approach, RESURGENCE is a thoughtful exploration into the expressive capabilities of the cello and the piano both as individual entities and a cohesive voice.

THE MUSIC OF MELISSA C. SHIFLETT is an impressive showcase of the lyricism that contemporary American serious music has to offer. As she reflects upon natural beauty, Melissa C. Shiflett nonchalantly intertwines the musical with the poetic in this release. The Horses’ Quintet is a captivating and physically riveting quintet for English horn, violin, cello, piano, and percussion, an homage to the expansive Indiana plains, five spirited horses, and the equestrian artistry displayed by their nimble trainer. The second piece, a three-part song cycle titled The Rose Saga, showcases three lyric sopranos and pianist. Slightly more urban, this piece chronicles the fate of a rosebush in a Manhattan garden over several years. Using simple but incredibly deft strokes, Shiflett creates a musical environment for her private outdoor worlds that is highly theatrical. She has endowed these fleeting, triumphant scenes with an artistic sense of permanence.

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.

The singing quality of string instruments ties together SONGS FOR A NEW CENTURY, a program featuring both world premiere recordings of new music commissioned for the artists and world premiere recordings of masterpieces by Mendelssohn. The program opens with a set of Mendelssohn’s Songs Without Words, beginning with the Opus 109 written by the composer for cello and piano. It continues with a set of arrangements for cello and piano, some recorded for the first time, by the 19th century cellist Alfredo Piatti, a personal friend of Mendelssohn’s upon whose cello Jonathan Miller plays. Gabriela Lena Frank’s Operetta for violin and cello, the composer writes, expands upon Mendelssohn’s concept of the “song without words,” creating opera without words that evokes scenes and characters through singing music for the duo of violin (Lucia Lin) and cello. Scott Wheeler’s second cello sonata, Songs Without Words, was inspired by Miller’s singing cello tone. Finally, Judith Weir’s Three Chorales for cello and piano meditate on religious poetry, departing from hymn texts –– and in the third Chorale, a melody from Hildegard of Bingen –– in a triptych that evokes the human condition.

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.

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.

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.

Sonatas for brass and piano are a tricky thing to pull off; in consequence, they are few and far between. Andrew Lewinter, himself a long-time orchestral horn player and soloist, has decided to add to the repertoire on MUSIC FOR BRASS AND PIANO: crafting four different sonatas for piano and each instrument of the brass family, and concluding with a dazzling piano quartet. The tonal language of these sonatas — for piano and trumpet, horn, trombone and tuba, respectively — draws heavily upon the Romantic tradition, but it never copies; rather, it is a reinvention of what Romanticism might have been, had it unfurled in the 21st century. A vibrant arc of suspense gives life to each individual work and, culminating in a grand finale, to the album itself.

The award-winning Benda Quartet assembles on QUADRANTS VOL. 5 to deliver a stunning, razor-sharp collection of contemporary string works. Composers Christopher J. Hoh, Ferdinando DeSena, Christopher Brakel, Michael Murray, and Paul Halley offer a wide range of sounds and emotions in this body of work, ranging from warm, elegant expressions to high-octane passages and more. This Navona Records release is also available as a visual album, filmed at the historic Dul Michal mine in Ostrava, CZ. Eloquent, precise, and hypnotic, QUADRANTS VOL. 5 is a crystal-clear reflection of the musical and technical heights of the string quartet genre.

Following her first Navona Records release, IKARUS AMONG THE STARS, New York-based composer Debra Kaye has curated an ever-varying mix of chamber and solo pieces with TIME IS THE SEA WE SWIM IN. Kaye’s inspirations are seemingly endless, from the improvisatory piano solo At Liberty (1988) where Kaye returns to her roots as a performer, to the jazzy Colossus 1067 (2021) written to accompany Gus Foster’s time-distorting panoramic photograph taken on a roller coaster with a rotary camera; from current events to the poetry of Zen monks, European Romanticism to a philosophical, even metaphysical meditation on time and the creative process. Kaye’s eclectic collection showcases and reconciles heterogeneous influences by way of a sonic language that is wholly, uncompromisingly her own. Her confident embrace of diverse sounds and styles invite and challenge listeners to join her on this voyage of discovery and dip a toe into this sea that we all swim in.

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.