Catalog

Composer Dan Redfeld presents A HOPEFUL PLACE: A SONG CYCLE FOR SOPRANO & CHAMBER ORCHESTRA, his debut release on Navona records showcasing his nine-movement song cycle of the same name. A Hopeful Place follows a woman’s journey through life from birth to death—a life-cycle-song-cycle, as librettist John Gabriel Koladziej describes the piece.

Navona Records presents A NATIVE HILL from Philadelphia’s professional chamber choir, The Crossing. This monumental unaccompanied work is the result of a collaboration with composer Gavin Bryars, whose previous work for The Crossing won them their first of two recent Grammy awards. With intimate knowledge of the individual voices and art of each singer, Bryars composed A NATIVE HILL to capitalize on the group’s unique sound, personality, and esprit de corps.

Tenor Brian Smith Walters is a force to be reckoned with — endowed with a dark, thundering timbre and magnificent, towering style, he is the embodiment of a Heldentenor. His first Navona Records release is a challenging cross-section of chansons and Lieder spanning five centuries, and Walters navigates them with stunning bravado. It doesn't matter whether he sings Purcell or Copland, Schubert or Saint Saens, Tchaikovsky or Barber, Wagner or Szymanowski – the energetic grip Walters has on every single piece is awe-inducing, every rendition buzzing with vibrance and profundity. Accompanied here by only the piano, there is only one word to describe the tenor and A PHOENIX RISING: intense.

Following his 2022 release, STORIES OUT OF CHERRY STEMS, this latest collection of vocal music by Baltimore-based composer Peter Dayton reinforces his establishment as a mature and formidable talent in the world of art song. ALL IN THE SOUND captures the heart of the genre: duet between voice and accompaniment. Characteristically and integrally, Dayton’s songs exhibit internal compositional logics of pervasive rhythmic patterns and intervallic relationships that create music that still viscerally satisfies. The album takes listeners on a captivating journey through physical, emotional, and abstract imagery. Triumphantly, Dayton’s music realizes the poignancies possible in the duet that is art song.

"Havel havalim hakol hevel," — “Merest breath, all is mere breath.” In the throes of lockdown, Nicholas Weininger found himself reflecting on this Hebrew verse; what is the nature of our collective life sustained on if not breath and breath alone? It was a breath robbed and convoluted during the COVID-19 pandemic: the ravaged breath of the afflicted, the fear of coming too close to the breath of another. Our world seemed to pause and take a breath, busy city streets gone barren amid our collective anxieties. Debuted and recorded by the Empire City Men’s Chorus, ALL IS MERE BREATH asks us to question the nature of our changed society in the thought of mere breath alone, and offers us refuge in the breath of song, perhaps, now and then, the purest form of it.

GRAMMY-nominated conductor Eugene Rogers brings to life Jocelyn Hagen’s setting of the Roman Catholic Mass in AMASS. This work stands apart from the Mass settings of other composers who have practiced this centuries-old genre, including Johann Sebastian Bach and Franz Joseph Haydn. While the music relies on the traditional Mass structure, it incorporates the spiritual writings of a diverse group of thinkers, ranging from a Muslim woman writing in the sixth century to a German theologian tried as a heretic 500 years later. In this way, the music is less about a particular religion but instead reaches toward the ineffable.

Composer Michael Cohen delivers an enticing follow up to his 2022 Navona Records release with ARIA, his second full album of original chamber works. Featuring a mix of studio and live recordings captured from various points in his diverse and expansive career, Cohen’s music emanates a thorough line of vitality and fervor. While strikingly rooted in tonal principles, these works embrace an elegant, confident, and ebullient character, permeated by a magnificent, effervescent spontaneity throughout.

Non-standard setups in classical music may be interesting, but they are commonly faced with the problem of limited repertoire. The ARK Trio, formed by soprano Allison Charney, cellist Kajsa William-Olsson, and pianist Reiko Uchida, has found a way of circumventing this challenge by commissioning works from contemporary composers as well as re-arranging classics, and the result can be heard on their debut release, ARK RESOUNDING. The pieces presented here may be an eclectic mix of American history, Bachian and Schubertian influences, and timeless poetry, but they are all united by one common denominator: the bittersweet trials and tribulations of love.

Modern traditionalist composer Garth Baxter’s album ASK OF ME WHAT THE BIRDS SANG presents a wide variety of instrumental works as well as vocal music; each of these unique pieces has a special connection with a song. When Lights Begin to Show, for example, includes a musical quote from “Afternoon on a Hill,” which is the first song in Three Poems from Edna St. Vincent Millay. The songs referenced sometimes come from earlier works by Baxter or borrow from folk music. An unabashedly lyrical composer, Baxter combines the traditions of form and clear melodic writing with contemporary approaches to harmony and other elements.

Navona Records is proud to present the debut commercial release from the critically acclaimed Coro Allegro, Boston's chorus for members and friends of the LGBT community. This album, AWAKENINGS, features two extraordinary works by composers from the Pioneer Valley region of Western Massachusetts: Shofar by Robert Stern, an intensely dramatic and deeply moving oratorio inspired by the four arresting calls of the shofar; and Why I Wake Early by Ronald Perera, with text drawn from the poetry of Mary Oliver.

German philosopher Immanuel Kant defined the Sublime as "beauty accompanied by awe" – a thought which perfectly encapsulates the spirit of Cappella Clausura's second PARMA release, BIRDS OF THE PSALMS. Evocatively conducted by Amelia LeClair, the ensemble interprets a magnificent choral repertoire spanning six centuries.

BLOODY JACK from composer Michael Matthews is a cycle of 14 songs based on selected poems from Dennis Cooley’s 1984 collection by the same name. These poems draw upon the chilling story of John Krafchenko, a Hungarian immigrant to Canada who became a notorious outlaw at the turn of the 20th century. The music was originally composed between 2015 and 2017, and revised in 2020. Matthews dedicates this work to pianist Laura Loewen and vocalist Dawn Bruch, both of whom bring this release and its haunting harmonies to life.

Contemporary music needn’t sacrifice order and aesthetic appeal, even when it deals with complex issues. A glowing example of this is BORN: THE MUSIC OF EDIE HILL AND MICHAEL GILBERTSON, with conductor Donald Nally leading GRAMMY-winning professional chamber choir The Crossing on a breathtakingly beautiful expedition into themes of extinctions, relationships and their complexities, loss, and love.

On her second release on Navona Records, BRASS RAIL BLUES, Canadian composer and oboist Patricia Morehead showcases her ability to incorporate varying instrumentation into her compositions, from mezzo-soprano and chamber ensemble; to flute and piano; to mandolin, cello, and clarinet. Because of this variety, the composer creates a world of imagery, setting poems by such writers as Margaret Atwood, Anne Sexton, and Cathy Ann Elias in several of her pieces.

CADENCE, the new vocal music compilation from Navona Records, offers a set of inspired, emotive premiere recordings by composers Christopher J. Hoh, David Kirtley, Joanne D. Carey, and Timothy Kramer in works juxtaposing the ethereal and the earthy, the diaphanous and the muscular, and the serene and the agile.

GRAMMY-winning chamber choir The Crossing is back with their latest installment in a multi-album series with Navona Records. CARTHAGE comes on the heels of the 2020 GRAMMY-nominated album THE ARC IN THE SKY, released last summer. In this latest offering, artistic director Donald Nally leads the choir through six striking pieces by composer James Primosch that confront the most elemental questions of Western philosophy.

CHAMBER WORKS OF ÉRIC TANGUY from Navona Records and composer Eric Tanguy delivers three world premiere recordings and a curated selection of the composer’s chamber pieces that demonstrates his illustrative style of punctuated modality. Brought to life by talented artists Ambroise Aubrun (violin), Cécilia Tsan (cello), Steven Vanhauwaert (piano), Martin Chalifour (violin), and Elissa Johnston (soprano), these seven pieces reflect many years of past collaboration amongst the performers resulting in a connection that is translated through thoughtful yet intense musical stylings. Tanguy’s ear-catching melodies and personalized compositions foster a sound quality that showcases the strengths and dexterity of the performers, all the while providing a stimulating and intimate listening experience.

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.

COMPELLING PORTRAITS from lauded trombonist Kenneth Thompkins celebrates the music of contemporary Black composers. The album features five pieces, three of which are commissioned trombone chamber music works. These compositions take listeners on a journey from the contemplative to the triumphant, showcasing Thompkins’s range and sensitivity as a performer. The title track, composed by James Lee lll, is a musical ode to the paintings in Jacob Lawrence’s Migration Series and in particular his painting Confrontation at the Bridge (Selma, Alabama). Drawing upon the works of multiple contemporary artists, COMPELLING PORTRAITS reflects the contribution of contemporary Black composers to a rich musical legacy.

Newly released from Navona is CONVERSATIONS WITH MY SOUL, a collection of new chamber works from acclaimed composer-pianist Bun-Ching Lam. The music sets in different languages the poetry of Shelley, Heine, Rimbaud, and Lasker-Shüller, as well as the poems of 9th Century Chinese mystic Han Shan and contemporary writer Etel Adnan. In a compositional voice The New York Times has called “alluringly exotic,” Lam incorporates baritone voice, piano, viola, flute, French horn, and harp to elucidate timeless works concerning life’s fundamental questions.