Instrumentaion: Oboe

Composer Michael K. Slayton continues his quest of lending a musical voice to the paintings of 20th century artists with KLEEMATION, the second single from his upcoming Navona Records album, SAGE BRUSHES. Commissioned by oboist Jared Hauser, this piece features responses to the highly imaginative and evocative work of the Swiss-German Expressionist/Cubist/Surrealist artist Paul Klee (1879–1940). The twinkle-in-the-eye of “Senecio,” the stark, cubed contrasts of “Ancient Harmony,” and the optical expressive energy of “Kettledrummer” served as catalysts.

Outside of Russian ballets and Mozart symphonies, the oboe is an instrument that generally does not get a lot of credit. But on FROM THE SEA TO THE STARS, the instrument is thrust into the spotlight it deserves. The driving force? Accomplished American oboists Lindsay Flowers and Andrew Parker. Center stage, it turns out, is a surprisingly merited place for the oboe and its bigger sister, the English horn — especially in contemporary composition. Flowers and Parker have curated a moody selection of beautiful, minimalist pieces that allow the respective instruments to shine on their own — accompanied only here and there by a pleasingly subtle piano. Delicate, lyrical, and utterly charming.

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.

What do you get when a Puerto Rican-American oboist falls in love with the music of a French oboist-composer? The answer is OBOE IN HUES, on which accomplished oboe virtuoso Nermis Mieses champions rarely-heard compositions for solo oboe by Gilles Silvestrini with astounding empathy and bravado. Silvestrini may hark back to certain traditions by using Shostakovich, Prokofiev, and other Russians as sources of inspiration, but his musical concept is almost non-Western in its focus on exploiting the entire gamut of the instrument. Mieses excels at this challenge. An intriguing exploration of the oboe and all that it is capable of.

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.

The aptly-titled HEAVY PEDAL VOL. 2 from Navona Records is the second installment of an organ-centric series of albums. Featuring the music of composers Christopher Hoh, Deon Price, Richard E Brown, and John Rommereim, the collection lives up to its name; these organ works are some of the most powerful that classical music has to offer. From Hoh’s Concertino Corona, inspired by the hardships and seeds of hope from COVID-19, to Brown’s Six Chorale Preludes on Favorite Hymn Tunes, which were composed using Brown’s encyclopedic understanding of historical hymns, HEAVY PEDAL VOL. 2 brings the organ down from the choir loft to allow all listeners a greater appreciation of this incredibly dynamic instrument.

Rigorous repertoire is at the ready on WINDSWEPT VOL. II from Navona Records, a sweeping sonic force of contemporary chamber works for woodwind quintet. Performed by the New London Chamber Ensemble, the works of seven composers soar with modern flair, making use of various instrumental textures and irregular meters with jazz-driven influences sprouting from classical roots. Dynamic displays of dexterity and lucious interplay between performers burst with refined energy in this recording, uplifting listeners into a satisfying and equally enticing atmosphere.

On FIGMENTS VOL. 3 from Navona Records, the imaginations of composers Jacob E. Goodman, Gary D. Belshaw, Andrew Lewinter, Thomas Mann Jr, Elliott Miles McKinley, and Eleanor Alberga are brought to life in a dynamic breadth of emotional performances, from soothing to exhilarating and natural to mythical. A dynamic assortment of contemporary chamber music, fantasy and reality collide to bring forth exhilarating stories spanning scenes from Greek Mythology to those of spirited animals and surreal scenic portraits. Universal melodies and rhythms find their form, short sketches evoke seasonal qualities, and fantasies float into reality in this collection.

Eleanor Alberga explores the whole gamut of the human experience in  WILD BLUE YONDER, an equally diverse and coherent set of four contemporary chamber music pieces. While written over the course of twenty-two years, these pieces burst the limits of both space and time. No-Man’s-Land Lullaby reaches back over a century to World War I; Shining Gate of Morpheus enters the realm of the mystical; Succubus Moon explores the dark sides of the  human psyche; and The Wild Blue Yonder offers a glimpse into a world that is at once alien and  wonderful. Undauntedly, positively unsettling album; perfect listening for these unsettling times and a worthy addition to the much hailed album of Alberga's three string quartets from 2019.

Navona Records proudly presents BREAKING THE SILENCE from legendary Australian composer George Palmer. The works featured on this new album draw inspiration from centuries-old poetry as well as the composer’s own life experience; Breaking the Silence unpacks a 17th-century pastoral haiku depicting a lone frog’s leap into a still pond, while Not Going Quietly is a touching tribute to a concert pianist whose life was cut short by a brain tumor.

BRUSH STROKES from Athenia Trio features works for flute, oboe, and bassoon. The program harnesses the impressive versatility of the trio, with six pieces by six different composers, including two commissioned specially for the ensemble: Alyssa Morris’s Brush Strokes, and Robbie McCarthy's The Blind Men and the Elephant.

In 2016, composer and pianist Jeffrey Jacob conducted interviews with children of illegal immigrants, whose plight ended up inspiring the pianist's fifth symphony. Remarkably for a contemporary composition, the work is quite condensed timewise; nevertheless, it packs the whole gamut of human sentiment, with the movements titled I. Lagrimas [Tears], II. Fear; Grace, and III. Separation, Grief; Resolution, Triumph.

International folk dances and Western film scores meet in GENTLE WINDS, a richly tonal collection that is as pleasing to hear as it is to perform. With the melodic, songlike phrases that highlight each instrument equally, one can hear the joy emanating from every performer.

Les Délices, which includes Baroque oboist Debra Nagy, Mélisande Corriveau on viola da gamba, and Eric Milnes on harpsichord, explores the dramatic potential and emotional resonance of long-forgotten music. Founded by Nagy in 2009, Les Délices has established a reputation for their unique programs that are “thematically concise, richly expressive, and featuring composers few people have heard of.” The New York Times added, “Concerts and recordings by Les Délices are journeys of discovery.”

FOREVER BEELER represents a sampling of composer Alan Beeler’s prolific output throughout his musical career, which is generally defined by his commitment to compositional craft and structural clarity. The works featured on this album also reveal a playfulness lying just under the surface of Beeler’s compositional perspective. This quality of Beeler’s music is most notable in the seven sonatas for piano, often accompanied by another instrument, included in FOREVER BEELER.

Composer Lawrence Ball has long been fascinated by the intersection of subjective human emotion and algorithmic mathematical objectivity.  In his 2012 Navona Records release METHOD MUSIC, produced by Pete Townshend of The Who and PARMA Recordings CEO Bob Lord, he took Townshend’s long-gestating concept of automatic musical portraiture first explored in LIFEHOUSE and WHO’S NEXT and turned it into reality, creating a system which could translate personal information and experiences into sound.

The chamber ensemble format has historically been able to intimately interpret works with a variety of emotional nuance, and retains flexibility to perform music with myriad influences. ALLUSIONS, an album of evocative chamber works, showcases the expressive and interpretive abilities of contemporary composition and features works by five composers.

FINE MUSIC, VOL. 4 is the fourth compilation of the Navona Records Fine Music digital series. This installment features the works of David Nisbet Stewart, Brian Noyes, Jonathan Little, Daniel Perttu, Curt Cacioppo, Santiago Billoni, Alejejandro Rutty, Joanne Carey, Ludwig van Beethoven, Joseph Summer, Roger Bourland, Kjell Magne Andersen, and Jan Van der Roost.

PARADIGMS explores the notion that music of varied influences, backgrounds, and techniques can be strung together to represent modern classical as a whole. With orchestral works that dive into the dramatic and expressive, ponder the impressionistic through textured and rhythmic motifs, and compare the bright with the chaotic, this album posits that music of all studies and methods of creation are pieces of a larger puzzle that shape the American contemporary soundscape.

Navona Records is proud to present the Tapestry Ensemble's NEW YORK MOMENTS. Oboist Richard Kravchak, clarinetist Julia Heinen, cellist Ovidiu Marinescu, and pianist Dmitry Rachmanov bring their varied experiences to the table to create a dynamic and versatile group whose collaboration led to the creation of a new subgenre of chamber music.