Period: 21st Century

Composer and pianist Jeffrey Jacob returns to Navona Records with REAWAKENING, a collection of varied works for orchestra and chamber ensembles. Jacob’s lush, mystical style pervades the album, often blending his piano’s sound with orchestral arrangements to create rich musical imagery, as in The Loch Before Sunrise and A Mirror Upon the Waters.

Argentinian composer, conductor, and scholar Alicia Terzian’s new Navona release OFF THE EDGE is an incredible journey into the heart of the string orchestra. The four works on the album introduce listeners to Terzian’s captivating compositional perspective and enchanting treatment of this ensemble’s sonic potential. Her writing focuses heavily on the drama, nuance, and contrasts accessible through instrumental color, and OFF THE EDGE showcases numerous audacious textures involving the string orchestra, with different percussion instruments,chorus,soloists and voice.

With his Navona debut ERGO, pianist and composer Zhen Chen makes an impressive contribution to the decades-long legacy of composers blending Chinese and western instruments and musical materials. This musical trend can be traced back 20 years, when a potent generation of Chinese and Taiwanese composers who began to explode across American and European concert stages. Luminary composers like Bright Sheng, Tan Dun, Chen Yi, and Zhou Long paved the way for younger Chinese artists like Zhen Chen, who uses ERGO to continue this blend of his native musical culture with many parts of the Western musical tradition.

This triple re-release contains a collection of works for small ensembles comprised of a diverse selection of instruments. Along with two albums from Allen Brings, this reissue includes a compilation titled CONTRA-PUNCTUS (1994).

One of the central tenets of Albert Camus’ philosophy is the indomitability of the human spirit, a subject on which he famously mused that “In the depth of winter, I finally learned that within me there lay an invincible summer.” This quote encapsulates the theme of WINTER’S WARMTH, Navona’s latest orchestral compilation featuring works from John A. Carollo, J.A. Kawarsky, Andrew Schultz, and R. Barry Ulrich. These composers present conceptual pieces that all act as soundtracks to our resiliency during the toughest moments of the human experience.

When approaching his latest chamber album BLISS POINT, Polish-born violinist and composer Piotr Szewczyk turned to a unique lens of inspiration – food science. His interpretation of a “bliss point” in the culinary sense embodies the technique’s saturation of a flavor just before the point of diminished potency. Of course, he trades in the contents of his spice cabinet in favor of diverse instrumental pairings, and in doing so, the composer explores the “saturation limits in the full spectrum of emotions, textures, and characters.” In doing so, Szewczyk is confident that the resulting collection of chamber works “covers the entire expressive range of my vocabulary and artistic sensitivity.”

Navona Records proudly presents renowned composer Ruth Lomon’s SHADOWING, her debut album on the label. The release showcases her remarkable skill in writing for the piano, pushing the instrument’s timbre and color to its limits to create animated sound worlds such as those of the title work, Shadowing. Lomon writes of the colors in the piece: “’Shadowing’ means to have such a light touch, such a light tread, that one can move freely through the forest, observing without being observed… It is the equivalent of manifesting and then becoming like smoke, and then manifesting again…”

A persistent goal of Mark John McEncroe is to create compositions that elicit an emotional response, as is echoed in the titles of his works. This is particularly true of the Australian composer’s Navona debut DARK CLOUDS OF LIFE, a conceptual release focused on overcoming addiction and depression, challenges McEncroe has personally struggled with. His sessions in Ostrava, Czech Republic with the Janáček Philharmonic Orchestra and pianist Helen Kennedy produced a cornerstone suite and three addendums that capture the essence of the record’s stated purpose.

Composer Michael J. Evans’ THE MUSIC OF ERICH ZANN is a startling and surreal musical interpretation of H.P. Lovecraft’s 1922 tale of the eponymous violist – a mysterious old man who seemingly protects himself from dark, magical forces by playing the viol. Evans is a gifted melodist, and his other PARMA Recordings and Navona albums showcase his predilections for the rich textures and harmonic language of late European Romanticism.

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.

PARMA Recordings artists Peter Greve and Hans Bakker have come together to give us LINES TO INFINITY, a stunning album that revolves around emotive and dramatic scores for primarily piano and flute. The two composers hail from the Netherlands and share a knack for creating thoughtful contemporary chamber works that appeal to the listener’s imagination.

In his second project with PARMA Recordings, Swiss composer Georges Raillard gifts us with 12 solo classical guitar compositions on BUTTERFLIES IN THE LABYRINTH OF SILENCE, all performed by renowned guitarist David William Ross.

The album follows the Sinking Islands suite, Raillard’s first project with PARMA Recordings, which appeared on BETWEEN THE ECHOES, a Navona Records compilation album featuring chamber works.

Sergio Cervetti returns with an exciting collection of works on his sixth Navona Records release, SUNSET AT NOON. A diverse composer, his works range from instrumental and vocal music to electronic compositions, often reflecting his South American, French and Italian heritage. His vocabulary draws from an early interest in twelve-tone and minimalism, and his current approach is flexible and free of constraint. With SUNSET AT NOON, Cervetti focuses on keyboard-based compositions for half of the album, with a foray into chamber music on the other half.

The choral music of Minnesota-based composer Edie Hill shines on CLAY JUG, a compendium of large and small works for a cappella choir and choir accompanied by chamber ensemble. Though the works featured on CLAY JUG vary in scope, they all demonstrate Hill’s keen sensitivity to ensemble texture and harmonic density, as well as the incorporation of text across four languages.

Trombonist Deb Scott makes her PARMA debut with her new Navona release PLAYING FAVORITES, accompanied by pianist Ron Petti. She performs a variety of her favorite pieces that appeal to her background in jazz and to her considerable technical skill. She writes: “What I love about each one is its ability to engage a diverse audience making for enjoyable and exciting musical moments.”

In 2008, PARMA Recordings acquired Capstone Records, the highly respected New York-based classical label founded by composer Richard Brooks in 1986, with the intent of shepherding the company and its music into the digital era. This album was originally released on Capstone and is being re-released by PARMA Recording's Navona Records.

In THE STOLEN CHILD, Scott Perkins builds vast and stunning worlds out of a handful of voices. Vibrant, facile, and confident, Perkins’ choir writing is state-of-the-art and makes a modern musical statement while retaining a clear attachment to choral music’s longstanding tradition. To this end, Perkins’ compositions seem to balance the fluid and direct expression of late Renaissance a cappella masterpieces, while also possessing a decidedly contemporary approach to timbre and texture.

Sound and space are two elements that emerge at the heart of Jane O’Leary’s THE PASSING SOUND OF FOREVER. The collection showcases O’Leary’s compositional gifts through a variety of her chamber compositions. O’Leary’s string writing soars in THE PASSING SOUND OF FOREVER, and demonstrates her remarkable sensitivity to the instruments’ sonic palette and expressive potential. Every color, from ethereal natural harmonics to frenetic bowing, is at O’Leary’s disposal, and is exploited beautifully to produce evocative and compelling soundscapes.

Navona Records welcomes Cappella Clausura, directed by Amelia LeClair, to the family with their new release of the choral works of Hilary Tann, entitled EXULTET TERRA. For the first half of the album, LeClair and Tann juxtapose Tann’s works for women’s voices, a cappella, with pieces by Hildegard von Bingen, in soaring arrangements by LeClair.

American composer Marty Regan specializes in composing music for traditional Japanese instruments, a fascination he has developed since 2000. Regan describes his Japanese-style compositions as, “hybrid musical soundscapes that reflect the age in which we live, an era based not necessarily on globalization, but of partnership based on global cultural interaction.” In contrast, SPLASH OF INDIGO features a complementary side of Regan’s output, containing only works for Western orchestral instruments and voice.