Catalog

Choral Chameleon, under the direction of Vince Peterson, explores the concept of change as a fundamental aspect of our existence on CHANGING from Navona Records. The texts and poems in this release delve into change as something that is inevitable and cyclical, to be actively embraced and critically examined in how it transforms our experiences, identities, and worldviews. CHANGING encourages listeners to move forward together with joyful anticipation of what is to come — not only with willingness, but with courage and evergreen determination.

Composer Thomas Cabaniss and the Charleston Symphony String Quartet bring a new and exquisite recording of Cabaniss's third, fourth, and sixth string quartets to Navona Records. A complementary record to the previously released FOUR ELEMENTS, DENMARK VESEY completes Cabaniss's six-quartet series. Bearing endless musical complexities masked in an air of exquisite melodic simplicity, the Charleston Symphony String Quartet effectively captures the evolving story between each movement and each quartet. Just as easily as they lean into the melancholy lines of the sixth, whose narrative tells the viscerally emotional story of Denmark Vesey, a slave revolt leader, they capture the harsh futuristic elements of the fourth and the flowing dance movements of the third. No doubt, DENMARK VESEY again proves Cabaniss to be a composer of wide variety, a collaboration that cements his legacy in the string ensemble genre.

Lauded cellist Emily Mantone is accompanied by Umi Garrett on BEETHOVEN: THE COMPLETE CELLO SONATAS, working in tandem to bring a new and distinctive tone to the five sonatas weaving through the lifetime of the great composer.

As a musical ensemble and non-profit organization, Calliope Brass flourishes in its joint mission of cultivating both entertainment and education. And with the freshly-commissioned contemporary works on SECOND NATURE, this vibrant ensemble proves that innovation lies at the very core of its existence.  Leaning heavily into tailor-made commissions can be an artistic gamble for any musical group, but in this case it pays off. The compositions’ motives are diverse in their representations of nature — meditations on mushrooms, Greek mythology, and modern dating, to name a few — but the performance given by Calliope Brass is one thing only: comprehensively flawless.

Lauded by Gramophone Magazine for the “well-drilled performances” delivered in their first installment, the Malta Philharmonic Orchestra returns with CONTEMPORARY COLOURS VOL 2, the long-awaited follow up to their 2020 Navona Records release. A keen promoter of Maltese composers, the orchestra brings to life works that explore themes of Greek tragedy, religious symbolism, existential philosophy, struggles that shape the human experience, and more. Conductor Miran Vautopić leads the celebrated ensemble through this exhilarating display of Maltese virtuosity.

The multi-GRAMMY® award winning ensemble The Crossing, led by Donald Nally, delivers an enthralling program of contemporary choral compositions with MECIENDO from Navona Records. New works from six composers unknown to one another and yet wondrously aligned; their music weaves together seamlessly, even mystically, into a meaningful story of spirituality and interconnectedness. Warmth and sparkle alternate effortlessly in the choral textures created by this renowned ensemble, enveloping listeners in a sound that travels from the closed arms of a loved one to the stars above. Available in stereo and Dolby Atmos immersive audio formats, MECIENDO blends the intimate and the profound in an awe-inducing performance.

Emerging from Gustav Hoyer’s innate desire to push the boundaries of his personal musicality, SYMPHONY NO. 1 is the cumulation of a lifetime of affectionate study of orchestral craft. Mirroring Hoyer’s own musical passage from then to now, and commenting on the strange, uncertain state of our world following a pandemic, Symphony No. 1 dances a path of regaining hope in the face of anxiety and strife. Vast instrumentation conveys tense uncertainty and glorious resurrection in a shattering finale that ensures Hoyer’s first symphony will be regarded as a triumph for the composer and an unforgettable experience for listeners.

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.

ESFAHÂN features eight cross-cultural compositions by Reza Vali. Blending Persian and Western classical traditions, the album is the first commercial recording of these works. Highlights include Hajiani, for Karnâ and electronics, as well as Sornâ (Folk Songs, Set No. 17) for Persian wind instruments and ensemble, featuring traditional Persian wind instruments. Highlights also include Four Persian Mystic Poems for mezzo-soprano and ensemble, and Esfahân for string quartet. Vali’s music is both highly innovative and deeply rooted in tradition; the unique modal system he uses borrows from the ancient Persian Dastgâh-Maqâm system, which was rediscovered through his extensive study of Iranian folk music. Despite eschewing Western approaches to counterpoint and musical form, Vali’s music is polyphonic and highly structured. The result is a compelling marriage of East and West, old and new.

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.

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.

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.

Navona Records is pleased to present Mirórs, the first single from composer Michael Slayton’s forthcoming album SAGE BRUSHES. Mirórs seeks to honor the visionary work of Spanish painter and sculptor Joan Miró (1893–1983). Each movement highlights the flute, violin, and clarinet, respectively, attempting to aurally render the thematic heartbeat of Miró’s work.

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.

Recently named Musical America's 2024 Ensemble of the Year, Donald Nally's chamber choir The Crossing stuns with their latest studio album, WAYS YOU WENT. Vibrant, exhilarating, and uplifting, this new release features original compositions by composers Martin Bresnick and Mason Bates. WAYS YOU WENT is a yin and yang of interconnected opposites. Bresnick's song cycle Self-Portraits 1964 exclusively deals with the life and personality of a single man: young and intellectual, working as a trash collector to put himself through college, and escaping into literature at night. Bates' trilogy Mass Transmission takes a telegraph conversation between mother and daughter in the 1920s and sets it to music, contrasting the warmth of human communication and a mechanistic medium. Both of these cycles, one introspective, the other socially oriented, are snapshots of a time gone by. The Crossing brings both to life with perfect mastery.

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.

Anthony Brandt’s LIVEWIRE and MEETING OF MINDS features two innovative dance scores created for collaborations with NobleMotion Dance and the University of Houston IUCRC BRAIN Center that were part performance and part scientific experiment. In order to better understand how brains interact, several dancers wore mobile brain-body imaging devices, with live visualizations of the neural synchrony between their brains displayed in real time. Brandt’s music offers “sonic brain scans” that explore our mental lives and how we engage with others, from our most automated behavior to our most flexible and dynamic. These string quartets celebrate the human mind and the way it shapes our reality.