Genre: Concertos

The violin concerto is a challenging setup to write for: it beckons with promises of both might and fragility. Composer Christopher Alan Schmitz is well-versed in both the theoretical and practical aspects of composition: his resulting VIOLIN CONCERTO AND SYMPHONY NO. 1 gets the balance just right. The tonal language is reminiscent of Bruckner and Mahler, as raw emotion mixes with splendor. The ultimate success of this precarious, heady concoction rests on the shoulders of conductor Stefan Sanderling and particularly, violinist Amy Schwarz Moretti, member of the acclaimed Ehnes Quartet. Stirringly written and performed to perfection, a success it is.

WALTON & BARBER from famed British violinist Thomas Bowes celebrates the works of two early 20th century composers, William Walton and Samuel Barber. The album includes Walton’s Concerto for Violin and Orchestra and Two Pieces for Strings from Henry V, as well as Barber’s Concerto for Violin and Orchestra op. 14 and the touchstone Adagio for Strings op. 11. Throughout the album, Bowes’ breathtaking virtuosity is on full display. His playing, which has been characterized by Gramophone Magazine as “deeply human” and “unusually communicative,” teases out subtleties and rises to the challenge of the most technically-demanding passages. With the violin at centerstage, WALTON & BARBER brings the full power of the orchestra to bear.

The creation of VIOLIN CONCERTO by Alicia Terzian marked the beginning of her 65-year (and counting) compositional career. Originally composed in 1954/55, this important piece of her repertoire was brought to life thanks to a collaboration between Navona Records and the Siberian State Symphony Orchestra. This album also features Terzian's Three Pieces, which listeners can remember from their previous Navona release, OFF THE EDGE.

The modern romanticism of composer Craig Morris is one simultaneously deeply personal and broadly meaningful. His albums DREAMS (2011) and CIRCLE OF LOVE (2015), both on the Ravello Records label, in large part deal directly with musical representations of universal emotional states and concepts.

On his debut solo Navona Records release, THE REAL BEELER, composer Alan Beeler presents his refined and distinguishable orchestral voice, exploring various harmonic and melodic forms and structures as well as the serial techniques of the Second Viennese School. In Symphony No. 1 and No. 4, the composer creates intricate atmospheres and moving textural soundscapes, generally derived from the composer's preset tone rows.