Catalog

SONATA FOR FLUTE AND PIANO by Timothy Schmalz is a vibrant and eclectic three-movement piece. This technically-demanding sonata incorporates a wide range of musical styles, inspired by Schmalz’s years spent studying works from the classical and pre-Romantic periods as well as the 20th and 21st centuries. The musical vernacular of the work is at once daring and playful, with the final movement representing a full “dream cycle.” Likened to a “musical children’s book” by the composer, this piece — Schmalz’s first foray into sonatas for small chamber ensembles — invites listeners young and old into the realm of imagination.

It's admittedly rare to hear contemporary classical music that delivers a shot of energy and drive like a cup of coffee: strong enough to wake you up, but in a way that is still pleasing to the senses. ADOLPHUS HAILSTORK boasts exactly this rare and invigorating combination — and the energetic performance by The Harlem Chamber Players adds an extra boost on top. Hailstork’s music blends African, American, and European traditions; there are parts that positively sound like something Shostakovich or Prokofiev might have written, perhaps echoes of Hailstork's studies with Nadia Boulanger in the 1960s. There are moments of contemplation, but if this album is anything, it's invigorating and profound.

If one could have recorded an ancient culture, how would it have sounded? Croatian conductor Antoaneta Radočaj-Jerković and two all-female choirs under her lead pursue this question. The result is HORIZON, a haunting performance of the eponymous work by contemporary composer Dalibor Bukvić. HORIZON is meant to evoke the ambiance of the prehistoric Vučedol culture, which flourished between 3000 and 2200 B.C. in what is now (mostly) Croatia. And in this endeavor, it succeeds with unsettling precision: Bukvić's work and the choirs' impeccable performance conjure images of hermetic settlements, starry skies, pagan rituals, and an ever-present consciousness of impending extinction. An ethereal experience.

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.

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.

The cello-piano duo is justly hailed for its tremendous expressiveness. Cellist Juliana Soltis and pianist Ruoting Li remarkably demonstrate this setup's emotive power on AMERICAN WOMAN while championing a noble cause — highlighting underrepresented women composers. Featuring works by Mary Howe, Amy Beach, Margaret Bonds, Helen Crane, Dorothy Rudd Moore, and Florence Price, AMERICAN WOMAN sheds light on a treasure trove of rarely heard gems of cello-piano literature. The general tone is sweeping, romantic, expressive, at times fierce and energetic, then again tender and delicate. Soltis and Li show extraordinary ability not only in bringing out the unique style of each composer, but also in uniting them all in a great artistic effort.

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.

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.

Kevin Lee Sun delivers an electrifying call to action in THE PEOPLE UNITED, a monumental set of 36 variations by the late American composer Frederic Rzewski. Derived from a global lineage of inspiration, the theme originated in Chile when the composer Sergio Ortega heard the soul-stirring chant of a street singer in Santiago, months before the 1973 Chilean coup d’etat. Inspired in turn by Ortega’s music and Chile’s upheavals, Rzewski combined the chant with revolutionary songs from various cultures to deliver a clear message of solidarity in his 1975 hour-long masterpiece, eponymously named The People United Will Never Be Defeated! Recorded in 2023, fifty years after Chile’s coup d’etat, Sun’s interpretation reckons with the historical weight of Rzewski’s variations. His strikingly dynamic and empathetic playing seeks to re-center the suffering and heroism of the Chilean people at the core of the musical narrative. Rather than pooling the lived experiences of the Chilean people into a blanket revolutionary statement, Sun invokes the voices of the chanting street singers, the people at the very start of it all.

FROM SOMEWHERE by composer Laurie Altman and pianist Clipper Erickson finds common ground between the global and the personal. Altman's compositions — ranging from sonatas and fugues to heartfelt solos — draw on diverse musical influences, including jazz, classical, and boogie. Through music, Altman contemplates the devastating war in Aleppo, the impact of COVID-19, and the death of George Floyd, as well as the most meaningful personal relationships in his own life. At the outset of this recording project, Altman considered where his music comes from; the album’s title is his cheeky reply. Anchored by Erickson's exceptional piano performances, FROM SOMEWHERE transcends the boundaries of classical music to make the personal universal and vice versa.

Following their 2023 United Kingdom Remembrance tour, The Syracuse University Wind Ensemble returns to the airwaves with two world premiere recordings on ANGELS RISING: MUSIC OF REMEMBRANCE AND LIGHT. The ensemble has commissioned dozens of new works for their genre, the two most recent being Frank Ticheli’s Angels Rising and Energy and Light by Syracuse’s own Natalie Draper, both of which commemorate the 35 Syracuse University students lost in the 1988 Lockerbie bombings. Draper and Ticheli’s tributes to the 270 total lives lost in the attack on Pan Am Flight 103 are bookended by performances of George Gershwin’s An American in Paris and Rhapsody in Blue in this Navona Records release, and are all available to experience in both stereo and Dolby Atmos immersive audio formats.

Pianist Kristín Jónína Taylor dives deep into the lyrical, evocative, and hauntingly beautiful works of three leading composers and educators from the Midwest United States on MIDWEST PIANO SONATAS. A blend of neo-classical and neo-romantic styles are presented in this Navona Records release, exploring compositional concepts ranging from bitonality to mixed meters, and life’s inscrutable emotions, particularly, anguish and bereavement. These profound spectrums of musicality and feeling are conveyed with stunning clarity by Taylor, an award-winning pianist lauded for her mesmerizing performances of nuance and depth.

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.

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.

Internationally renowned and award-winning pianist Hyewon Chang makes her Navona Records debut on FANTASIE REFLECTIONS, a carefully crafted collection of fantasias from Mozart and Schumann effortlessly brought to peak form. Chang’s fluent attention to temperance in Mozart’s Fantasia in C Minor (K. 396) captures improvisational elements and collaborative effect in Maximilian Stadler’s completion of the 1782 composition. So to does Chang treat the wide range of captivating themes nestled in the folds of Fantasia in D Minor (K. 397) with equal musicality and assurance; the same for Fantasia in C Minor (K. 475), a pinnacle of Mozart’s repertoire given new breath in an unwaveringly grand iteration. Rounded out with Schumann’s Fantasie in C Major, a staggering journey into the innermost impassions, dedications, and toils of the composer himself, FANTASIE REFLECTIONS comes as a masterful recording to be long-lauded by dedicatees of Mozart and Schumann alike.

Christopher O'Riley's THE WELL-TEMPERED CLAVIER BOOK I delves into the subtle intricacies of Bach's famous masterwork, revealing the composer's nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach's profound lyricism and informed by historical insights, O'Riley's interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach's compositions. Through meticulous attention to intonation and rhythmic flexibility, O'Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach's universe, where every pause resonates with depth and possibility.

WANDERINGS, the debut album from pianist Brian Woods, reflects the beauty that can emerge in dark times. Woods performs Chopin's Ballades alongside pioneering compositions from Clara Schumann, Lili Boulanger, and Amy Beach. The album was born as an artistic response to the horror of the war in Ukraine; through these emotive and technically-demanding performances, Woods offers comfort and inspiration for people everywhere suffering displacement. Just as Chopin wrestled with what it meant to be Polish while living outside of Poland, Woods seeks identity and transformation through exile. In WANDERINGS, Woods leverages the power of music to bridge the gap between despair and hope.

Accomplished Brazilian pianist Eliane Rodrigues interprets Chopin with a highly combustible melange of precision, expressiveness and dynamism on her newest release, DREAMSCAPE. With her trademark crystal-clear tone and larger-than-life interpretation, Rodrigues brings Late-Romantic grandeur to the Romantic composer. The juxtaposition of Chopin's Piano Concerto No. 2 with his famous Préludes op. 28 impressively highlights one of the greatest strengths of Rodrigues: her ability to coax orchestral colors from seemingly straightforward solo piano pieces. The shades and hues she manages to produce unveil an entirely new facet of the Polish composer's works: a sense of spatial vastness and exuberance.

FELT, METAL, WOOD, featuring John Mackey’s Concerto for Soprano Saxophone, is a thorough exploration into the many expressive and technical facets of the Saxophone. Mackey, who has garnered widespread critical acclaim as one of today’s leading composers, notes that the saxophone is a hybrid instrument; it is essentially a brass instrument with a woodwind reed. With that in mind, Mackey composed this concerto by focusing several movements on unique characteristics of the instrument.  After the prelude comes “Felt,” a movement focused on the keys of the instrument and all the ways a player can use them as an interface. “Metal,” the third movement, demonstrates the saxophone’s soaring range in a lyrical, introspective manner, while “Wood,” a tango highlighting the saxophone’s strengths in an intimate setting, transitions to an exhilarating display of virtuosity in the “Finale.” Performed by saxophonist Stephen Page and pianist Liz Ames, Mackey stirs a greater appreciation for the versatile instrument in this release.

Piano visionary Sandrine Erdely-Sayo pays a dignified tribute to Maestro Franz Liszt in MAJESTIC LISZT, an intimate recording of some of his finest works. Having a deep respect and admiration since childhood, Erdely-Sayo pours every ounce of her being into capturing the contemplative and song-like quality that pervades Liszt’s middle-to-late repertoire. A rich and elegant session, it’s impossible not to be enraptured by her sensitive and languishing treatment in Consolations, nor her delicate attention to poetics in the melody lines of Ständchen and Romance in E Minor. Erdely-Sayo shines in the beloved Liebesträume, delivering an electrifying interpretation while still maintaining a dream-like musicality at its core. MAJESTIC LISZT is a perfect introduction to the Maestro’s oeuvre, catering to both devoted Liszt enthusiasts and those just starting to explore his music.