Instrumentaion: Orchestra

Australian composer, music educator, and pianist Margaret Brandman presents her debut Navona release SENSATIONS, featuring several of her celebrated compositions, each one presenting a unique musical experience and sensation. The Moravian Philharmonic Orchestra skilfully performs the orchestral portion, opening with the joyful Love Brings Change (Adagio for Strings). Pianist Lucie Kaucká joins the orchestra for Lyric Fantasy, an emotional and accessible two-movement work with contrasting moods for piano and strings.

The clichéd trope of the isolated artist toiling over their work in a virtual vacuum, alone and against the trends of the day, is not a new one. But in the case of Paula Diehl, it is as true as it comes. It isn’t an easy task to be a composer, a job which (to paraphrase Aaron Copland) holds few material rewards, and often even fewer good notices in the paper the next morning – it requires an inner strength and conviction in order to persevere through the challenges, be they artistic, financial, or social.

Composed almost 50 years apart, Dvořák’s Cello Concerto in B Minor (1895) and Schumann’s Cello Concerto (1850) are closely linked in the pantheon of Romantic concerto literature.  Cellists of many generations have long looked at both of these pieces as essential components in their artistic development, and each has been recorded many times over by the titans of the instrument to showcase their technical mastery.

Depicting 12th-century Persian poet Farid ud-Din Attar’s dramatic narrative, New York-based composer and GRAMMY-nominated conductor Jonathan Sheffer presents his orchestral work The Conference of the Birds, commissioned for the Cabrillo Festival of Contemporary Music, on Navona Records. Attar’s poem of the same name is a journey of transformation and conviction, in which the birds of the world seek to find an illustrious leader, ultimately ending with new insight into their spiritual identities. The allegory portrays our own doubts, fears, and faults, how we confront these issues, and how we seek to understand identity and our relationships with other humans, the natural world, and what lies beyond.

On his Navona Records release THREE PASTELS FOR PIANO & ORCHESTRA, composer Carl Vollrath presents his three piano concerti, written between 2012 and 2015. Representing some of his most recent work, these concerti are connected to each other thematically, and in a way portray a different hue of the same color.

For decades, John Rojak has been a staple in American brass music, performing with a number of chamber ensembles and orchestras such as American Brass Quintet, Cleveland Orchestra, the New York Philharmonic, and the Boston Symphony; in Broadway shows including Les Misérables and The Producers; in big bands of Mel Lewis, Bob Mintzer, and Gerry Mulligan; and contributing to the pedagogy of the bass trombone as a faculty member of several institutions, including The Juilliard School, The Hartt School, and Aspen Music Festival and School. Needless to say he has taken the bass trombone and its repertoire to new heights in the classical, contemporary, jazz, and commercial genres.

The lineage of Western concert music is one which brims with tradition and history, through teachers and pupils, listeners and performers, spanning centuries and continents alike. But one of the common threads which runs through this lineage is the urge by composers, performers, and audiences to all be part of a transcendent emotional experience through music itself.

Music can possess the power to take hold of our emotions, guiding us along an imagined journey that stirs our inner being, a concurrently unique and familiar experience. New York composer Rain Worthington writes music to captivate the listener, creating textural and lyrical worlds that are inhabited by various colors and tones. On DREAM VAPORS, her full-length solo debut on Navona Records, the composer offers a selection of her orchestral works, presenting intense dreams, intangible perceptions, and musically evocative elaborations.

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.

I met the Swedish saxophonist Anders Paulsson in the early 90s through my friend and mentor John Corigliano. Anders, always a very entrepreneurial sort of musician, was to be the focus of a 1996 concert on Swedish Public Television. Fortunately for me, the program included funding for a commission of a new concerto, and Anders kindly asked me to compose something for soprano sax and large orchestra.

14 concerts, 12 venues, 4 days. The 2014 PARMA Music Festival featured a diverse range of events, from concert performances of orchestra, chamber ensembles, solo instruments, and jazz groups, to an outdoor presentation of Prokofiev's Peter and the Wolf and panel discussions about music licensing and multimedia composition, as well as improvised collaborations between indie rockers and classical instrumentalists.

From Verdi and Mozart to Stravinsky and Britten, the requiem has been a musical tradition used by many composers to remind us of life's indeterminacy. American composer Arthur Gottschalk's momentous masterwork, REQUIEM: FOR THE LIVING, an 8-movement, 45 minute work for full orchestra, chorus, and four soloists, including tenor Alberto Mizrahi and Grammy-nominated soprano Lauren Snouffer, resigns the fear of uncertainty by celebrating the rich narrative of Western art and culture.

The most recent recording of music by internationally renowned and critically acclaimed composer, Fredrick Kaufman, is a mystical journey through Kaufman's compositional explorations of the unknown, the natural order, and universal human experience. The two feature works are world premieres of his atmospheric choral & instrumental pieces that depict the cosmos in Stars & Distances and Seven Sisters.

With an innate sense of curiosity and a drive for knowledge, humans constantly push the boundaries of their physical and psychological environments, attempting to break through and discover the unexpected. On his debut Navona Records release ASTRAL TRAVELS, composer and double bassist David Arend explores several frontiers, including perceived boundaries between musical genres, earth and outer space, humanity and nature, and perception and reality.

Maestro Kirk Trevor praises composer Lee Actor as "one of the refreshing new classical voices ... who can still use a traditional language with a freshness that makes the music alive and interesting." On his latest Navona Records release PIANO CONCERTO, Actor presents three orchestral works, performed by Trevor and the Slovak National Symphony Orchestra, that are engaging and tonal yet dramatic and modern.

Occasionally, moments of happiness and comfort can rise from experiences of anxiety and doubt, during which we learn about ourselves and our limits. Composer and pianist Jeffrey Jacob depicts the experiences of struggle and pain, and of triumph and joy on his debut Navona Records release DARKNESS TO LIGHT.

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.

Hector Berlioz's Symphonie Fantastique (1830) is regarded as one of the most significant works from the early Romantic period, memorably portraying the introspective and troubled life of an artist. The French composer's use of materials such as the recurring idée fixe to illustrate the protagonist's obsessive mind-state has influenced composers ever since. Conductor John Page calls Symphonie Fantastique "unquestionably the most vividly programmatic symphony in the entire orchestra repertoire."

On his latest Navona Records release, PARAGONIA, composer Michael G. Cunningham explores ways in which the orchestra can interact with itself on several levels. Counter Currents presents contrary phrases and themes simultaneously stated while TransActions portrays dimensions of density, emphasizing orchestral blur and presenting gestures and passages that prompt interplay between the sections of the orchestra.

10 concerts, 7 venues, 3 days. The inaugural PARMA Music Festival in 2013 featured more than 100 composers and performers in works for orchestra, chamber ensembles, solo instruments, and jazz groups, as well as improvised collaborations between indie rockers and classical instrumentalists. This release collects some of the finest performances from the Festival, as recorded by the PARMA Recordings production team.