Inviting Worlds Vol 3

New Works for Large Ensemble

Patricia Morehead composer
Richard Vella composer
Jay Anthony Gach composer
Ludwig van Beethoven composer
Deems Taylor composer

Release Date: December 9, 2022
Catalog #: NV6482
Format: Digital
21st Century

INVITING WORLDS VOL 3 offers a fresh look into the Navona Records series with a new roster of modern composers. Building on the canon of orchestral works presented thus far, this edition of the series features works inspired by historic poetry, iconic stories, and memories, tied together and brought to life by the raw power of today’s ensembles. From whimsical and uplifting passages to deep stirring nostalgia, the works featured on INVITING WORLDS VOL 3 are unrelenting in their emotive qualities.


Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 Voyage Across Centuries Patricia Morehead Janáček Philharmonic Ostrava; Stanislav Vavřínek, conductor 11:54
02 Colours of Memory Richard Vella South Czech Philharmonic; Miran Vaupotić, conductor 5:24
03 Anne Rutledge (“Bloom forever, O Republic”) Jay Anthony Gach Moravian Philharmonic; Stanislav Vavřínek, conductor 7:37
04 Coriolan Overture Ludwig van Beethoven South Czech Philharmonic; Miran Vaupotić, conductor 7:47
05 Marco Takes a Walk Deems Taylor Janáček Philharmonic Ostrava; Stanislav Vavřínek, conductor 13:13

Recorded March 25, 2022 at
Dům Kultury města Ostravy (The Ostrava House of Culture) in
Ostrava, Czech Republic
Producer, Editing & Mixing Jan Košulič
Engineer Aleš Dvořák
Additional Editing Lucas Paquette

Recorded January 14, 2022 at
Otakar Jeremiáš Concert Hall in
České Budějovic, Czech Republic
Producer, Editing & Mixing Jan Košulič
Engineer Aleš Dvořák
Assistant Engineer Pavel Paluřík
Production Manager Jean Noël Attard
Additional Editing Melanie Montgomery

Recorded May 18, 2022 at
Reduta Hall in Olomouc, Czech Republic
Producer, Editing & Mixing Jan Košulič
Engineer Jana Jelínková
Additional Editing Lucas Paquette

Recorded January 13, 2022 at
Otakar Jeremiáš Concert Hall in
České Budějovice, Czech Republic
Producer Jan Košulič
Engineer Aleš Dvořák
Assistant Engineer Pavel Paluřík
Assistant Engineer Romban Kamba
Editing & Mixing Melanie Montgomery

Recorded February 24, 2022 at
Dům Kultury města Ostravy (The Ostrava House of Culture) in
Ostrava, Czech Republic
Producer Pavel Kunčar
Engineer Aleš Dvořák
Assistant Engineer Pavel Paluřík
Production Manager Jean Noël Attard
Editing & Mixing Melanie Montgomery

Mastering Melanie Montgomery

Executive Producer Bob Lord

A&R Director Brandon MacNeil
A&R Chris Robinson, Danielle Sullivan, Miran Vaupotić

VP of Production Jan Košulič
Production Director Levi Brown
Audio Director Lucas Paquette
Production Assistant Martina Watzková

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

Artist Information

Patricia Morehead


Oboist and composer Patricia Morehead earned her B.M in Oboe from New England Conservatory and her Ph.D in Composition from the University of Chicago. Additionally, she holds diplomas from the Royal Toronto Conservatory of Music, Paris Conservatoire National de Music (France), and Accademia Chigiana di Siena (Italy). Her principal teachers in oboe include Myrtil Morel, Etienne Baudo, Ralph Gomberg, John Mack, and Lothar Faber, and John Eaton, Ralph Shapey, Shulamit Ran, and Samuel Dolin in composition.

Richard Vella


Richard Vella's diverse output includes compositions for orchestra, large ensemble, choir, film, chamber music, burlesque cabaret, music theatre, contemporary opera, site-specific performances, and popular music genres. Much of his music has been performed and recorded nationally and internationally. His film credits include Light Years, Parklands, and Renzo Piano: piece by piece for which he won the 1999 Australian Screen Composer's Award for best music for a documentary. His feature film music score Travelling Light (2003) received the nomination for “Best Music for a Feature Film” by the Australian Film Institute.

Jay Anthony Gach

Jay Anthony Gach


Jay Anthony Gach's original concert music has been critically acclaimed as: “music [that] dances with charisma,” (Parterre Box), "a natural crowd pleaser," (NY Newsday), "vibrant textural transformations," (NY Times), "multi-layered, whirling and propulsive," (Minneapolis Star), "witty, virtuosic and accessible," (Clarinet & Saxophone Magazine, UK), "so exuberant [and] so full of character," (SPNM New Notes, UK). Summarized by the composer Lukas Foss during his tenureship as conductor of the Brooklyn Philharmonic, "[Gach’s] writing for orchestra is brilliant beyond words." The composer Hugo Weisgall wrote of him, "a composer...of extraordinary technical command and intellectual grasp of what music is all about."

Deems Taylor


Deems Taylor One of the best-known musical figures of the first half of the twentieth century, Deems Taylor was a composer, radio commentator, music critic, and author. He was the composer of The King’s Henchman, the first American opera ever commissioned by the Metropolitan Opera, with libretto by Edna St. Vincent Millay. His second opera, Peter Ibbetson, was performed 22 times at the Metropolitan Opera in New York, landing Taylor on the cover of Time magazine, and was in the repertoire for several years. Both operas actually made money for the Met. He wrote two other operas, a number of orchestral pieces, including the often played Through the Looking Glass Suite, and hundreds of chorale pieces.

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.

Moravian Philharmonic Orchestra


The Moravian Philharmonic Orchestra is one of the foremost and oldest symphony orchestras in the Czech Republic. It is based in the historical capital of Moravia, the city of Olomouc, and has been a leader of music activities in the region for the past 70 years. Its artistic development was directly influenced by distinguished figures from the Czech and international music scene.

South Czech Philharmonic


Originally known as The South Bohemian State Orchestra, the South Czech Philharmonic, based in České Budějovice (Budweis), was founded in 1981. Today, it comprises 39 artists and remains the only professional philharmonic orchestra in the South Bohemian region.

Stanislav Vavřínek


Stanislav Vavřínek is one of the most prominent Czech conductors and has been Chief Conductor of the Czech Chamber Philharmonic Orchestra Pardubice since 2018. Having graduated from the Conservatory in Brno where he studied flute and conducting, he continued his education at the Academy of Performing Arts in Prague. Subsequently, he also took master classes with Roberto Benzi in Switzerland, culminating with a concert in which he conducted the Biel Philharmonic Orchestra.

Miran Vaupotić


Acclaimed as “dynamic and knowledgeable” by the Buenos Aires Herald, Croatian conductor Miran Vaupotić has worked with eminent orchestras including the London Symphony Orchestra, the Royal Scottish National Orchestra, the Berliner Symphoniker, the Russian National Orchestra, the Slovak Radio Symphony Orchestra, the Prague Radio Symphony Orchestra, the Budapest Symphony Orchestra MÁV, Orchestre de Chambre de Genève, the Cairo Symphony Orchestra, Orquesta Sinfónica Nacional Argentina, and others, performing in major halls around the globe such as Carnegie Hall, Wiener Musikverein, Berliner Philharmonie, Rudolfinum, Smetana Hall, Victoria Hall, Forbidden City Concert Hall, Shanghai Oriental Art Center, Dubai Opera, Tchaikovsky Hall, International House of Music, CBC Glenn Gould Studio, and more.


Voyage Across Centuries was commissioned by the North Bay Symphony Orchestra and Maestro Thomas Jones and was funded by the Canada Council to honor the 250th birthday of Beethoven. I decided to combine the histories of the founding of North Bay by explorer and mapmaker Samuel de Champlain and Beethoven, the composer who explored new ways of using tonality in his works leading to the harmonic language of the 19th century. I also incorporated a Voyageur song known to be used by Champlain and his men as they traveled the rivers and rapids exploring Canada all the way to Lake Superior. This composition is best described as a tone poem to Beethoven and North Bay.

– Patricia Morehead

Colours of Memory explores various contrapuntal variations based on the flute’s opening two bar pattern. This two bar pattern, with its implied syncopation, was transcribed from a Garage Band free loop archive of instrumental audio clips. As well as utilizing invertible and retrograde counterpoint along with hocket techniques, the work creates an implied counterpoint involving unison timbral interplay between the instruments. Rhythmic complexity is further achieved through the continual shifting of instrumental timbres using irregular phrase groupings. The syncopated drum kit and bass section allude to contemporary dance patterns. The resultant sound is kaleidoscopic involving timbres that continually and playfully interact with each other. 

Formally, Colours of Memory consists of a series of contrapuntal episodes which allude to the Baroque era’s concerto grosso form. Each episode concludes with a ritornello, denoted by the drum kit and electric bass guitar. The drumkit and bass never exactly repeat. They, like some of our memories upon recall, are always slightly different rhythmically. While the first half of the work is joyous, the second half of the work takes on a nostalgic feel with the string orchestra’s use of a quasi-chordal hymnal texture in which the fragments of the first half float in and out.

This present orchestral setting of Anne Rutledge (“Bloom forever, O Republic”) is an instrumental arrangement from my full-length scenic oratorio titled THE HILL – consisting of settings of The Spoon River Anthology by Edgar Lee Masters. In the original, Anne Rutledge is scored for solo soprano, chorus, organ/synthesizer, and full orchestra, and is the finale to the first half of THE HILL. In this present recording, I  incorporate some of the vocal lines and choral parts in an overall reduced orchestration. 

Anne Rutledge is a poem from Edgar Lee Masters The Spoon River Anthology. The subtitle, Bloom Forever O Republic, is the penultimate line of the poem. The poem refers to the period right after the American Civil War when the country was trying to rebuild and heal the vast chasm between the victorious North and the defeated secessionist South.  

The tone of the poem, though perhaps naïve in the light of contemporary scholarship, is nevertheless sincere, patriotic and forgiving. I try to express the textural lyricism and post-civil war reconciliatory tone of the poem through a singing expressive melodic style that emphasizes a noble, hopeful, uplifting spirit. 

— Jay Anthony Gach

Anne Rutledge (by Edgar Lee Masters) 

Out of me unworthy and unknown  
The vibrations of deathless music;  
“With malice toward none, with charity for all.”  
Out of me the forgiveness of millions toward millions,  
And the beneficent face of a nation  
Shining with justice and truth.  
I am Anne Rutledge who sleep beneath these weeds, 
Beloved in life of Abraham Lincoln,  
Wedded to him, not through union,  
But through separation.  
Bloom forever, O Republic,  
From the dust of my bosom!

Marco Takes a Walk is a theme and variations based on the Dr. Seuss story And to Think That I Saw It on Mulberry Street. It premiered at Carnegie Hall in 1942. It is a delightful, slightly whimsical piece, accessible to a younger audience.

James Pegolotti, in Deems Taylor: A Biography, describes the story:

“Marco is an over imaginative little boy who regales his father with embellished stories based on a simple observation, ‘a horse and wagon on Mulberry Street.’ Taylor described the little boy’s elaborations: ‘[Marco] decides to make the story better by saying that a zebra was drawing the cart. No, he’ll make it a chariot – no, a reindeer, pulling a sled – no, better yet, an elephant, a blue one. Still better, there will be a Rajah riding the elephant, and the steed will be drawing, not a sled, but a bandwagon, with a big brass band aboard.’” 

Marco Takes a Walk was never commercially recorded and has never taken its rightful place in children’s concerts. This is sad, for there are few works in the symphonic repertoire so capable of enlivening a child’s imagination.

Marco Takes a Walk is dedicated to his daughter, Joan Kennedy Taylor, who was 15 at the time.

— Michael Cook, 2022

Explore more albums in this series