Dashing Vol. 3

Even More Sounds of The Season

John Wineglass composer
Carol Barnett composer
Richard E Brown composer
Gavin Brown composer
Christopher J. Hoh composer
L Peter Deutsch composer
Heather Niemi Savage composer

Release Date: November 4, 2022
Catalog #: NV6472
Format: Digital
21st Century
Folk Music
Vocal Music

Navona Records presents DASHING VOL. 3, a festive assortment of new works inspired by the signature sounds and staples of the holiday season. Comprising stories, nods to classic holiday tunes, and an underlying current of wistful nostalgia, this installment of the DASHING series keeps the spirit of holiday music alive with new compositions and arrangements of well-known favorites. Brought to life by a number of orchestras, chamber ensembles, and choirs, the works of new and returning composers to the series are sure to ignite the charm and congeniality of the holiday season, highlighting the many facets that the bright break of winter can bring.


Hear the full album on YouTube


John Wineglass – The Toy Factory: Little Elves, Fairies, and Snowmen

Track Listing & Credits

# Title Composer Performer
01 The Toy Factory: Little Elves, Fairies and Snowmen John Wineglass Filharmonie Brno | Pavel Šnajdr, conductor 4:30
02 Hodie Carol Barnett Kühn Choir of Prague | Lenka Navrátilová, conductor 4:14
03 Christmas Eve, Bells Carol Barnett Kühn Choir of Prague | Lenka Navrátilová, conductor; Ondřej Benek, tenor 4:17
04 A New World of Justice Richard E Brown; Henry Lebedinsky, lyrics Kühn Choir of Prague | Lenka Navrátilová, conductor; Marcel Javorček, piano 4:36
05 The Greatest Gift Richard E Brown; Henry Lebedinsky, lyrics Kühn Choir of Prague | Lenka Navrátilová, conductor; Marcel Javorček, piano 3:34
06 Remembering December Gavin Brown; Miesha Clarice Lowery, lyrics Gavin Frazier Brown, piano; Diana Cantrelle, vocals 3:59
07 Christmas Cheer Gavin Brown; Miesha Clarice Lowery, lyrics Gavin Frazier Brown, piano; Diana Cantrelle, vocals 2:06
08 Christmas Moon Gavin Brown; Miesha Clarice Lowery, lyrics Gavin Frazier Brown, piano; Diana Cantrelle, vocals 4:41
09 A Poor Child’s Christmas Wish Gavin Brown; Miesha Clarice Lowery, lyrics Gavin Frazier Brown, piano; Diana Cantrelle, vocals 3:08
10 A Delaware Christmas Gavin Brown; Miesha Clarice Lowery, lyrics Gavin Frazier Brown, piano; Diana Cantrelle, vocals 3:19
11 For the Children or the Grown-Ups? Christopher J. Hoh Vox Futura | Andrew Shenton, conductor; Matt Sharrock, vibraphone 3:29
12 O Tannenbaum L Peter Deutsch Vox Futura | Andrew Shenton, conductor 2:49
13 Lo, How a Rose E’er Blooming Richard E Brown Janáček Philharmonic Brass Trio | Roman Buchal, trumpet; Vladimír Ševčík, trombone; Věra Bartošová, horn 2:39
14 Gesu Bambino Richard E Brown Janáček Philharmonic Brass Duo | Roman Buchal, trumpet; Vladimír Ševčík, trombone 2:50
15 Siciliano for Christmas Eve Richard E Brown Janáček Philharmonic Brass Trio | Roman Buchal, trumpet; Vladimír Ševčík, trombone; Věra Bartošová, horn 3:56
16 O Holy Night, O Glorious Light Heather Niemi Savage Kühn Choir of Prague | Lenka Navrátilová, conductor; Marcel Javorček, piano; Walter Hofbauer, trumpet 5:06

The Toy Factory: Little Elves, Fairies and Snowmen
Recorded May 20, 2022 at Besední dům in Brno, Czech Republic
Producer Jan Košulič
Engineer Jaroslav Zouhar
Editing & Mixing Jan Košulič, Melanie Montgomery
Additional Editing Ethan Fields

Hodie, Christmas Eve, Bells, O Holy Night, O Glorious Light
Recorded April 19 & May 9, 2022 at Czech TV Music Studio in Prague, Czech Republic
Producer Jan Košulič
Engineer Aleš Dvořák
Assistant Engineer Roman Sklenář
(Tracks 2-3) Editing & Mixing Lucas Paquette
(Tracks 2-3) Additional Editing Ethan Fields
(Tracks 16) Editing & Mixing Melanie Montgomery

A New World of Justice, The Greatest Gift
Lyricist Henry Lebedinsky
Recorded August 3, 2021 at The Chapel at Korunni in Prague, Czech Republic
Producer Jan Košulič
Engineer Aleš Dvořák
Editing & Mixing Lucas Paquette

Remembering December, Christmas Cheer, Christmas Moon, A Poor Child’s Christmas Wish, A Delaware Christmas
Lyricist Miesha Clarice Lowery
Recorded September 28, 2021 at New Hope Lutheran Church in Columbia MD
Producer Signature Soul Records
Engineer Gordon Masters

For the Children or the Grown-Ups?, O Tannenbaum
Recorded October 22-23, 2021 at Futura Productions in Roslindale MA
Producer John Weston
Engineer John Weston, Noel Smith
Editing & Mixing Lucas Paquette

Lo, How a Rose E’er Blooming, Gesu Bambino, Siciliano for Christmas Eve
Recorded March 26, 2021at Dům Kultury města Ostravy (The Ostrava House of Culture), Ostrava, Czech Republic
Producer Jan Košulič
Engineer Aleš Dvořák
Editing & Mixing Lucas Paquette

Mastering Melanie Montgomery
Additional Mastering Ethan Fields

Executive Producer Bob Lord

A&R Director Brandon MacNeil
A&R Ivana Hauser, Chris Robinson, Danielle Sullivan

VP of Production Jan Košulič
Audio Director Lucas Paquette
Production Director Levi Brown
Production Manager Jean Noël Attard
Production Assistant Martina Watzková

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming, Morgan Hauber
Publicity Patrick Niland, Brett Iannucci

Artist Information

John Wineglass


John Christopher Wineglass is a multiple ®EMMY Award-Winning Composer who has performed on five continents, before U.S. presidents since Ronald Reagan, and with several ®OSCAR and ®GRAMMY Award-winning artists including Aretha Franklin, Whitney Houston, and Jamie Foxx to name a few. He has written several scores and incidental music for shows on MSNBC, CNN, NBC, CBS, and ABC as well as documentaries on Headliners & Legends for The Brady Bunch, Kathy Lee Gifford, and Farah Fawcett. Having scored mainly independent films, several of his nationally syndicated commercials include music for the United States Army, American Red Cross, and Texaco as well.

Carol Barnett


Carol Barnett’s music has been called audacious and engaging. Her varied catalog includes works for solo voice, piano, chorus, diverse chamber ensembles, orchestra, and wind ensemble. She has received grants and fellowships from the Camargo Foundation, Cassis, France (1991), the Inter-University Research Committee on Cyprus (1999), the Jerome Foundation (2002), and the McKnight Foundation (2005).

Richard E Brown

Richard E Brown


Richard E. Brown, a native of New York State and has been active as a composer-arranger and music educator for many years. His training includes M.M. and D.M. degrees in composition from Florida State University, as well as a B.A. in music education from Central College, which named him a Distinguished Alumnus in 1983. His principal composition studies were with Carlisle Floyd, John Boda, and Charles Carter.

Gavin Brown


Composer Gavin Brown’s musical journey began with The Sting. He took up piano so he could play the ragtime music of Scott Joplin which was featured in that movie. He studied music at DePauw University and composition with Panamanian composer Roque Cordero at Illinois State University. His music draws from a number of influences from classical to jazz and rock to pop.

Christopher J. Hoh


“Full of charm and shapely allure” (Opera News) and “a tapestry of immense grace” (Textura) are some of the praises Christopher J. Hoh has received for his music. He grew up in Reading PA and was influenced as a young singer and accompanist by great works under conductors in Pennsylvania, New York, and Washington. He has been in Alice Parker’s composer seminar as well as workshops with Jean Berger, Daniel Moe, Robert Page, and Craig Jessop. 

L Peter Deutsch


L Peter Deutsch is a native of Massachusetts, now living in Sonoma County CA, and British Columbia, Canada. He writes primarily for small instrumental or a capella vocal ensembles, spanning styles from devotional to romantic to jazzy, and from Renaissance to early 20th century. Works to date include four choral commissions; releases through PARMA Recordings include music for chorus, string quartet, woodwind and brass quintets, piano trio (featuring work with Trio Casals), and full orchestra.

Heather Niemi Savage


Heather Niemi Savage’s music explores universal questions of essence and finding beauty and joy in the midst of suffering, resulting in evocative pieces that take listeners on a journey which nourishes the soul, stimulates healing, and builds empathy. Savage draws on her own experiences, her love of the natural world, literature, and faith; her compositional style is informed by her training in classical, jazz, musical theater, sacred music, and life-long interest in world music.

Filharmonie Brno


Since its earliest days, Filharmonie Brno has established a profile as a Janáčkian orchestra, thus making a substantial contribution to the cultural life of Brno — where Leoš Janáček composed nearly his entire oeuvre — and becoming an enthusiastic champion of his music. Since its foundation in 1956, the orchestra has regularly performed Janáček’s works in concerts at home and abroad; it has also recorded, multiple times, his complete symphonic works and cantatas.

Pavel Šnajdr


Pavel Šnajdr is a Czech conductor and composer. He is a graduate of the Janáček Academy of Music and Performing Arts (JAMU), Brno in composition (which he studied with Alois Piňos) and conducting (with Emil Skoták). Beyond working with symphony orchestras, he has been engaged by music theatres including the J.K. Tyl Theatre in Pilsen, the Prague State Opera and the Moravian Theatre in Olomouc, and currently conducts opera at the National Theatre in Brno.

Kühn Choir of Prague


The Kühn Choir of Prague is one of the largest Czech choirs and has been part of the musical world for over 60 years. It devotes itself to the choral repertoire of all periods, and its activities include significant performances of contemporary music, performances of large vocal-instrumental works in collaboration with leading Czech orchestras and, last but not least, projects for the performance and recording of film music.

Lenka Navrátilová


Lenka Navrátilová studied piano and harpsichord at the Teplice Conservatory and choral conducting (sacred music) under the guidance of Jiří Kolář and Marek Štryncl at the Faculty of Education of Charles University in Prague. She is second chorus master of the Kühn Choir of Prague, professor of opera coaching at the Prague Conservatory, and répétiteur of the Prague Philharmonic Choir. As the assistant to the chorus master of the Prague Philharmonic Choir, she has participated in its appearances in Doha, Berlin, and at the Sankt Gallen opera festival.

Vox Futura


Vox Futura is New England's premier recording choir for composers, recording artists, film, television, and video games. Past projects have included work with internationally distributed classical production house PARMA Recordings, video game companies Nintendo and Bandai Namco, legendary German power metal band Blind Guardian, and platinum selling world music artist Sami Yusef.

Janáček Philharmonic Ostrava


The Janáček Philharmonic is a world-class symphony orchestra based in Ostrava, Czech Republic and an emerging figure on the international performance scene. With over 100 top-level musicians, the orchestra aims to introduce unique, quality repertoire while showcasing their own recognizable sound.

Henry Lebedinsky


Hailed by The Miami Herald for his “superb continuo… brilliantly improvised and ornamented,” GRAMMY-nominated historical keyboardist, composer, and conductor Henry Lebedinsky has performed with the Seattle Symphony, Seattle Opera, the St. Paul Chamber Orchestra, the Charlotte Symphony, Seraphic Fire, Sonoma Bach, and the Cantata Collective, among others. Recent conducting engagements include the Seattle Baroque Orchestra and Sonoma Bach’s Live Oak Baroque Orchestra. As part of a career built on collaboration, he serves as co-Artistic Director of the San Francisco Bay Area’s AGAVE and Seattle’s Pacific MusicWorks. With countertenor Reginald L. Mobley, he has introduced listeners on three continents to music by Black composers from baroque to modern, including recent appearances at the Musée d’Orsay in Paris and Festival Printemps Musical des Alizés in Morocco.

In 2014, he founded Seattle’s Early Music Underground, which brought multimedia concerts to brewpubs, wineries, and other places where people gather, and presenting it in ways which both entertain and educate. In the middle of the pandemic, he launched his newest venture, Classical Uncorked, (https://classicaluncorked.com) an artist-driven music cooperative that blends music, wine, spirits, and good company while seeking to center both performers and repertoire from historically excluded populations.

An avid composer of music for choir and organ, his sacred music is published by Paraclete Press, Carus-Verlag Stuttgart, and CanticaNOVA. He holds degrees from Bowdoin College and the Longy School of Music, where he earned a Master of Music in historical organ performance as a student of Peter Sykes.

Diana Cantrelle


Diana Cantrelle is at home in opera, Oratorio, musicals, voiceover, and film.

Some of her favorite works include Brahms Opus 91, Handel’s Messiah, Mother – Amahl & the Night Visitors, Witch – Hänsel und Gretel, Amneris – AÏDA, Carmen – Carmen-Vive la Liberté; Madame Flora (Baba) – The Medium, Adalgisa – Norma, Azucena – Il Trovatore.

Masters Music Voice Performance/Vocal Pedagogy with Composition Studies Peabody Conservatory of Music.


Miesha Lowery


Lyricist Miesha Lowery recently graduated from the University of Phoenix in Marketing. She’s been writing creatively since her teen years growing up in New Jersey. She currently resides in Maryland with her foster beagle, Oliver. She is currently working on projects both within her profession and with other artists to further enhance her body of work.


This piece was commissioned and premiered by The Portland Symphony Orchestra and Maestro Eckart Preu as an offering to their annual holiday pops concert series entitled “The Magic of Christmas.” In the requested fashion of a four-minute virtuosic work for winds, brass, and percussion with mystery of sorts even quoting some Christmas hymns as well, The Toy Factory: Little Elves, Fairies, and Snowmen sheds a musical light on the very busy plight of Christmas elves on Christmas Eve building toys and helping Santa deliver these toys around the world, encountering various fantasy fairies and snowmen along the way. The work gleefully interweaves and explores several tonal key centers with varying amounts of solos, duets, trios and the such throughout the entire work. Enjoy the sleigh ride!

– John Wineglass

Christmas Eve, Bells was written in 1991 for the Dale Warland Singers’ Echoes of Christmas concert. I set the first three stanzas from Alfred, Lord Tennyson’s In Memoriam, canto XXVIII, imagining the voices as bells ringing the changes — exploring the variations of their tunes — from “four hamlets round, from far and near, on mead and moor,” the background hum always present in their combined overtones, and a sense of wistful nostalgia for days gone by.

Like Christmas Eve, Bells, this setting of Hodie was written for the Dale Warland Singers, specifically for their Echoes of Christmas concert in 1998. The previous Christmas, Dale had programmed Poulenc’s Quatre motets pour le temps de Noël. I found the first three movements magical, but somehow the fourth — his setting of the Hodie text — didn’t seem to fit with the others. I wondered what would happen if I were to write what I wanted to hear from Poulenc. Here is the result.

– Carol Barnett

A New World of Justice
Written for the Christmas Season, but also appropriate for the MLK Holiday or general-purpose use, this SATB anthem is set to a challenging and inspiring text by Henry Lebedinsky, which draws striking parallels between the time of Jesus and troubling social issues of our own day.

The Greatest Gift
Forced by circumstances to spend Christmas Day 2015 alone, instead of sitting around feeling sorry for myself, I decided to get to work and set a Christmas text that had been waiting for my attention. I wrote it first as a high voice solo and later arranged it for SATB, which is the setting presented on this recording. Still later I also adapted it for SAB and SA voicings.

The text, by my friend and colleague the very multi-talented Henry Lebedinsky, is concerned with what gift can we bring to the Christ Child, compared to those brought by the Magi. This makes it especially appropriate for the post-Christmas season of Epiphany as well as Christmas itself.

– Richard E Brown

Remembering December
A moment of clarity from a broken heart that left our mystery guy reminiscing of a never-forgotten but a short-lived relationship. He decides to leave behind the one physical memory of the love that walked away from him.

Christmas Cheer
Christmas brings with it warm smiles and joyful cheers. People gather around to bring warm
desserts and exchange gifts. It’s the one time of year when love is loud and beautiful.

Christmas Moon
A woman comes back from a tour in the military to find her children all grown and safe. She
misses them so much that she wants to surprise them on a beautiful Christmas night. She encounters relief when her eyes land on two children playing in the snow with joy in their hearts.

A Poor Child’s Christmas Wish
Mike is a brave kid who puts his family first. He wears hand-me-down clothing and still has a
heart full of gold. His only wish is not selfish; it is compassionate and loving. He only wants the
best for his family during Christmas. Santa, being all giving, does not hesitate to grant his wish.

A Delaware Christmas
The first Christmas in Delaware, where the sand meets the ocean. A small, quaint town where
scooters are the best way to travel versus a car. The blessing of another year and another
moment to celebrate unconditional love wherever you are.

– Gavin Brown

I came across this delightful poem when looking for a text to go with a vibraphone accompaniment. That instrument sometimes reminds me of a toy piano, although it’s also capable of great expression and sophistication. Still, with its playful sound in mind, I thought this light-hearted poem about toys could make a perfect pairing, and its mention of mechanical toys sealed the deal for me! So here is a Christmas choral piece for a listener of any age to enjoy.

As for the text, I have tried to find out who G.D.K. was — the person credited with this work when Life magazine published it in the 1920s. If anyone can discover this identity, please let me know, since this poet deserves credit!

– Christopher J. Hoh

The traditional setting of O Tannenbaum is well-known and well-loved by German and English speakers, dating back over 200 years and now known as a Christmas song, even though that was not its original meaning. I hope to add new, equally singable melodies to the German words in the two settings in this release. The first, titled O Tannenbaum, is in 4/4 time and has somewhat more the character of a concert piece; the second, Der Tannenbaum, is in the same 3/4 meter as the traditional setting, and has more straightforward homophony appropriate for singing as a carol. Both are for SATB voices and have simple, conventional harmony that even young singers can enjoy. You can find the lyrics, both German and a good English translation, at https://en.wikipedia.org/wiki/O_Tannenbaum.

– L Peter Deutsch

Lo, How a Rose E’er Blooming
A contrapuntal setting for brass trio—scored for trumpet, horn, and trombone— of the popular Christmas carol based on a 17th-century German madrigal by Michael Praetorius, this arrangement was written for a church brass trio that I am a member of to play on Christmas Eve. I later also adapted it for woodwind and string trios.

Gesu Bambino
This popular carol by Italian composer Pietro Yon actually quotes the refrain to Adeste Fidelis. I originally wrote this arrangement as a duo for 2 horns for the pastor of a church I once attended and me to play on Christmas Eve (the only horn-player pastor I ever met). I later adapted it for several other instrumentations, including trumpet and trombone, which is the version played on this recording.

Siciliano for Christmas Eve
A gentle tune with a siciliano rhythm pervades the contrapuntal texture of this trio—scored for trumpet, horn, and trombone—combining the familiar carols It Came Upon the Midnight Clear and O Holy Night. Written for a church brass trio that I am a member of to play on Christmas Eve, I later also adapted it for woodwind and string trios.

– Richard E Brown

The birth of Jesus Christ is a seeming contradiction in terms. God became man. The King of Heaven was born into poverty and laid in a manger. Ignored in the city, his birth was heralded by angels in the countryside. When commissioned to write a Christmas piece for the Greater Tiverton Community Chorus, I was drawn to Thomas C. Roney’s poem, O Holy Night, because it captures this dichotomy, both the intimacy of a private birth and the announcement by angels of a worldwide promise that, through this baby, peace and goodwill are given to all humankind.

I aimed to capture the paradox of the meaning in Christ’s birth in this piece: it is new, yet quotes old familiar carols; it is a lullaby, yet an anthem; it is tender, yet exultant. All glory be to God on high, and peace, goodwill to men.

– Heather Niemi Savage


Hodie Christus natus est,
hodie Salvator apparuit:
hodie in terra canunt Angeli,
laetantur Archangeli:
hodie exsultant justi, dicentes:
Gloria in excelsis Deo, alleluia.

Today Christ is born,
today the Savior has appeared;
today on earth the Angels sing,
the Archangels rejoice;
today the righteous exult, saying:
Gloria to God in the highest. Alleluia!

In Memoriam
by Alfred, Lord Tennyson (1809-1892)

The time draws near the birth of Christ:
The moon is hid; the night is still;
The Christmas bells from hill to hill
Answer each other in the mist.

Four voices of four hamlets round,
From far and near, on mead and moor,
Swell out and fail, as if a door
Were shut between me and the sound:

Each voice four changes on the wind,
That now dilate, and now decrease,
Peace and goodwill, goodwill and peace,
Peace and goodwill, to all mankind.

A New World of Justice
by Henry Lebedinsky

Born into poverty, bowed down by empire,
Born in a stable, attended by beasts,
Jesus, world-changer, adored by the angels,
came down to live with the last and the least.

Two thousand years since he first walked among us
and huddled masses still yearn to breathe free.
So many eyes are still blind to oppression;
rulers and rich men still deaf to his plea.

Come let us work for A New World of Justice.
Let us build bridges where some would build walls.
So, through our lives, we may echo the angels:
“Glory to God, peace and good will to all.”

Now, as we wait yet again for his coming,
may we remember that when he first came,
we were afraid, we cried out “crucify him!”
Thus those in power used our fear for their gain

Come let us work for A New World of Justice.
Let us build bridges where some would build walls.
So, through our lives, we may echo the angels:
“Glory to God, peace and good will to all.”

When we are anxious and hope seems audacious,
anger and hatred clang loud in our ears.
Over the tumult, a still, small voice ringing;
challenging, strengthening, calming our fear:

Come let us work for A New World of Justice.
Let us build bridges where some would build walls.
So, through our lives, we may echo the angels:
“Glory to God, peace and good will to all.”

The Greatest Gift
by Henry Lebedinsky

What treasures shall I give to him, once higher than the Cherubim,
now poor and cold, but still a King, and lying in a manger?

Shall I give my precious gold, riches brightest to behold,
gift of kings in days of old to this infant stranger?
Or frankincense to fill the air with perfume sweet and odor fair,
a symbol of a peoples’ prayer delivered out of danger?
Or myrrh, the oil of the tomb, foreshadow of a future gloom;
a shameful Cross, the death of whom lies sleeping in the manger?

The Greatest Gift that I can bring is not a jewel or precious thing,
a heart attuned to serving him who loved and served the stranger.
The gift of loving charity, serving those in poverty,
this is what he asks of me, our God within a manger,
our God within a manger.

For the Children or the Grown-Ups?
Author G.D.K. (unknown), alt. C. J. Hoh

‘Tis the week before Christmas and every night
As soon as the children are snuggled up tight
And have sleepily murmured their wishes and prayers,
What fun does go on in the parlor downstairs!

For Father, Big Brother, and Grandfather too,
Start in with great vigor their youth to renew.
The Grown-ups are having great fun — all is well;
And they play ‘til it’s long past the one a.m. bell.

They try to solve puzzles and each one enjoys
The magical thrill of mechanical toys;
Even Mother must play with a doll that can talk,
And if you just lend a hand, it’s able to walk.

It’s really no matter if paint may be scratched,
Or a cogwheel, a nut, or a bolt gets detached.
The grown-ups are having great fun — all is well;
The children don’t know it, and Santa won’t tell.

O Holy Night, O Glorious Light
by Thomas C. Rooney

Oh, holy night! Oh, glorious light! That shines on Bethlehem town!
Oh, music sweet that from the skies omes floating softly down!
The echo of the angels’ song falls on our ears again,
“All glory be to God on high, and peace, goodwill to men.
All glory be to God on high, and peace, goodwill to men.”

The shepherds heard, like note of bird, that midnight carol clear,
And to the manger and the babe, in awe and love drew near,
And as they gazed, the heav’nly strain rang in their hearts again,
“All glory be to God on high, and peace, goodwill to men.”

Oh, holy night! Oh, glorious light! That shines on Bethlehem town!
Oh, music sweet that from the skies comes softly floating down!
We catch the golden cadences and fling them back again!
“All glory be to God on high, and peace, goodwill to men.
All glory be to God on high, and peace, goodwill to men.”

All glory be to God on high (4x)
All glory be to God (2x)
All glory be to God on high,
And peace, goodwill to men.

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