Instrumentaion: Cello

At this point, it would only be fair to call Dutch composer and conductor Johan de Meij “the Dutch King of program music.” Widely known to audiences for his 1988 Symphony No. 1 The Lord of the Rings, De Meij now presents CASANOVA, the complete recording of his compositions and transcriptions for cello and wind orchestra. Like the majority of De Meij’s oeuvre, the works on CASANOVA are committed to a late Romantic aesthetic: frequently citing Rachmaninoff, Debussy, or Puccini, and intended to conjure specific imagery. The resulting music is soothing, colorful, and pleasing to the ear.

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.

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.

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 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.

Lyricism and melody are often vainly sought in contemporary composition. American composer Richard Crosby goes against the grain on BY THE WATERS OF MEMORY, a selection of compositions so aesthetically sublime, yet so profound, one wonders if this is still music, or someone mesmerizingly peeling back the layers on existence itself. BY THE WATERS OF MEMORY features two scintillating chamber duos with piano – one a viola, the other a cello sonata – as well as a charming tetralogy of Latin dances for piano and oboe. But perhaps the greatest revelation arrives in the form of trenchantly beautiful solo piano pieces, which bear all the hallmarks of unadulterated classical-romantic genius. If Schubert had been an American, he would have sounded like this.

Featuring cellist Thomas Mesa and pianist Michelle Cann, OUR STORIES from Navona Records aims to raise the voices of composers and performers from backgrounds traditionally underrepresented in classical music. Made possible by PARMA Recordings and a Sphinx MPower Grant, this release musically conveys a diverse mixture of themes and topics, from the intricacies and curiosities of human communication to fear-inducing information prevalent in the media, reflections on the acceptance of life's inevitable changes and losses, and more. Dive in and explore the masterful contemporary works of Andrea Casarrubios, Carlos Carrillo, Kevin Day, Sebastian Quesada, and Mario Oyanadel.

Multi-genre composer Gary Smart explores a wide range of styles and transforms them into his own musical language on COLUMBIAN HARMONY. His soundscapes are sweeping, billowing meadows, often vast in their ambition and scope. At times richly textured, at times sparse, almost threadbare, Smart’s carefully designed works meander between grand rhapsody and heart rending simplicity. There is enough familiarity in this music to keep the listener anchored, but the element of surprise reigns supreme.

COMPELLING PORTRAITS from lauded trombonist Kenneth Thompkins celebrates the music of contemporary Black composers. The album features five pieces, three of which are commissioned trombone chamber music works. These compositions take listeners on a journey from the contemplative to the triumphant, showcasing Thompkins’s range and sensitivity as a performer. The title track, composed by James Lee lll, is a musical ode to the paintings in Jacob Lawrence’s Migration Series and in particular his painting Confrontation at the Bridge (Selma, Alabama). Drawing upon the works of multiple contemporary artists, COMPELLING PORTRAITS reflects the contribution of contemporary Black composers to a rich musical legacy.

Eight exceptional composers, eight premiere recordings with a legendary orchestra, and one spectacular soloist: LONDON CELLO CONNECTION is a captivating compendium of contemporary compositions by celebrated cellist Ovidiu Marinescu and the London Symphony Orchestra with conductor Miran Vaupotić. Marinescu’s emotive, lush sound and superb technical command provides the continuous thread throughout the program, from the elegant “Sarabande” by Marvin Lamb to Arthur Gottschalk’s regal “Brunetti Meditations” to the shimmering, pulsing “Soul Dance” of Diane Jones, connecting and contrasting each of these works and others by John Robertson, Katherine Price, Joanna Estelle, L Peter Deutsch, and Keith Kramer. Recorded in June 2022 at the LSO’s St. Luke’s Church, the historic site on London’s Old Street which dates to 1733 and was restored to become home to the orchestra’s recording, community, and music education programs.

Non-standard setups in classical music may be interesting, but they are commonly faced with the problem of limited repertoire. The ARK Trio, formed by soprano Allison Charney, cellist Kajsa William-Olsson, and pianist Reiko Uchida, has found a way of circumventing this challenge by commissioning works from contemporary composers as well as re-arranging classics, and the result can be heard on their debut release, ARK RESOUNDING. The pieces presented here may be an eclectic mix of American history, Bachian and Schubertian influences, and timeless poetry, but they are all united by one common denominator: the bittersweet trials and tribulations of love.

Navona Records presents SHOSTAKOVICH / RACHMANINOFF: SONATAS FOR CELLO AND PIANO, an album that highlights the musical expression and virtuosity of these renowned works. Acclaimed award-winning soloist Carmine Miranda and GRAMMY-nominated Nashville Symphony pianist Robert Marler combine their virtuosity with the legendary three-time GRAMMY-nominated producer Alan Shacklock and celebrated mastering engineer Tommy Dorsey (Berlin Philharmonic – Deutsche Grammophon) to deliver the highest quality performances of these works. Deeply expressive with interplay and virtuosic passages, these two sonatas are held to high regard by pianists and cellists alike. Once turning points in the lives of Shostakovich and Rachmaninoff, these works have stood the test of time, rewarded with commanding performances by cellist Carmine Miranda and pianist Robert Marler.

Laurence Sherr delves deep into the spirit of resilience with FUGITIVE FOOTSTEPS: REMEMBRANCE MUSIC. Not shying away from musically pointing to suffering and despair, Sherr paints a vivid picture of persecution, trauma, and survivor's guilt but also of silent and active opposition, hope, renewal, and the eventual overcoming of adversity. Through remembrance and tribute, these compositions unapologetically aim to tell stories of Holocaust resistance and survival, not only in concept but also in their individual tonal language: at all times fully conscious of their cultural roots, vast heritage, a sacrosanct sense of belonging, and the duty of defending these treasures. But perhaps, even more, these works reveal pathways to clearer, brighter horizons.

Tonality is slowly but steadily making its way into the toolbox of contemporary music again. Accomplished orchestral horn player Andrew Lewinter, who returned to composing in 2016 after a long hiatus, thankfully discovered that very toolbox, and the result can be heard on CHAMBER WORKS. Two quintets and one trio in classical instrumentation, and the neo-Romantic tonal language to match: it’s a difficult feat to pull off. Lewinter, however, diversifies with minimalist elements and, drawing from his considerable experience as an orchestral performer, imbues his chamber works with symphonic richness. It’s the secret ingredient, and it works.

From natural scenes of beauty to mystical dreamscapes and vivid characters of villainy, a dynamic assortment of music awaits in SANDMAN’S CASTLE from composer Vincent Ho. A compendium of uniquely-orchestrated and masterfully executed solo and duo works are brought to life from a roster of renowned performers: Vicky Chow, Susanne Ruberg-Gordon, Ben Reimer, Beth Root Sandvoss, and Evelyn Glennie, who serves as a listener’s guide on a mystical journey into the world of dreams in the albums titular track. Between explorations of uncharted territories with tam-tam and music boxes and thoughtful juxtapositions of the drumset with mainstays in classical music, Ho pulls out all of the stops with the renowned featured performers, and his dexterous compositional tool-kit throughout.

2020 VISIONS from the Fischer Duo celebrates the piano-cello group’s 50 years of performances together. The Duo is known for performing music from the likes of Beethoven alongside the works of emerging composers. The pair celebrated the anniversary of their formation in 1971 during the height of the pandemic; though the performance was given virtually, the resulting recording is a declaration of love and resilience. This album features three works commissioned for the Duo including Pulitzer Prize and GRAMMY Award-winning composer William Bolcom's Second Sonata, as well as three recent compositions from promising new composers. Expressing the pain of loss as well as the hope for a better tomorrow, 2020 VISIONS showcases this duo’s versatility and musicianship.

MEMORIES UNSETTLED explores music that has too often been marginalized from the historical musical canon. Sun Min Kim and Hilary Glen joined forces during the height of the pandemic, forming the Gibbs Street Duo. This piano-cello duo tours colleges and universities across the country, sharing their inspiring music with students, faculty, and other patrons of the arts. The album features composers from diverse backgrounds including Dorothy Rudd Moore, James Lee III, Ching-chu Hu, and HyeKyung Lee. Moore’s Dirge and Deliverance is a sonata in two movements written in 1971 that uses music to reflect on the Black experience in 1960s America. Abraham’s Sons written by James Lee III was written in 2013 to express horror and outrage at the killing of Trayvon Martin. Through these pieces and more like them, the Gibbs Street Duo demonstrate the power and relevance of music as a catalyst for change.

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.

Composer Peter Dayton and Navona Records present STORIES OUT OF CHERRY STEMS, an album of original vocal chamber music with carefully curated texts spanning multiple centuries. Soprano Katie Procell and numerous selected performers navigate a persistent tension between simplicity and complexity delicately threaded throughout the program, providing a solid stage for the texts of notable poets Pablo Neruda, Oscar Wilde, and more. The strengths of vocal and instrumental chamber music merge into a cohesive powerhouse in this recording, brimming with sung stories that compliment Dayton’s compositional style.

In PASSAGES THROUGH TIME, composer Rain Worthington explores the mystery of instrumental music’s ability to communicate the universality of human experiences. She invites the listener into the realm of the nonverbal to reveal our primal commonality, directly touching the heart and soul with music that is delicate and subtle, yet powerful and transporting. Worthington’s music has been hailed as “a fusion of styles—ancient, medieval modality and sonorities, modernist minimalist ostinato, and classical” (IAWM Journal). Embark on a journey through the currents of Worthington’s musical streams and the emotional forces that drive her unique voice.