Catalog

A composer equally accustomed to writing for orchestra, opera, film, theater, chorus, and chamber ensembles, Brian Wilbur Grundstrom’s voice includes a strong affinity for long melodic lines, distinctive tonal harmonic vocabulary, engaging rhythms, skillfully executed counterpoint, and dramatic imagery, all of which are reflected in the five orchestral works which span fourteen years on his debut release with Navona Records, AN ORCHESTRAL JOURNEY, to create a visionary and lyrical expedition that is quite accessible and easily travelled for the listener.

Globally recognized for its unique radio programming, innovative collaborations, and community outreach, All Classical Portland presents AMPLIFY, a response to the industry’s inequities in classical music recordings. The works of five contemporary composers are brought to light in this album, each infused with recollections of stories, cities, and movements that have made an impact along the artists’ journey. As the 1,000th album brought to life by parent organization PARMA Recordings, this important Navona Records release marks a monumental achievement in highlighting voices in classical music, and is a step in helping to change America’s playlist.

AMERICAN SCENES, from composer Samuel A. Livingston is, as its title suggests, a painterly tribute to America. The album’s title piece, Three American Scenes, is a three-movement suite that expresses the grandeur of the American west, the serenity of a mountain lake at dawn, and the bustle of a busy day in a large city. The album opens with Celebrating the Fourth, which depicts an American Fourth of July celebration. The final two selections feature works for concert band with a solo instrument – the flute, in Silvertube Variations, and the clarinet, in Balkan Dance. In that last selection, Livingston turns his attention beyond our shores, to the harmonies and rhythms of the folk music of the Balkan countries, especially Bulgaria and North Macedonia. Altogether, AMERICAN SCENES is thoughtfully-crafted and unabashedly jubilant, expressing appreciation for America and the world beyond with refreshing sincerity.

For Richard Fountain, piano music is as American as apple pie and baseball. On AMERICAN IVORY, his debut album on Navona Records, the well-versed pianist celebrates the variety and vitality of American art music by performing a decades-spanning collection of works by time-honored and contemporary composers alike.

The intersection of classical music and popular and folk music is where the journey begins for the Seattle-based Saint Helens String Quartet - consisting of Stephen Bryant, violin; Adrianna Hulscher, violin; Michael Lieberman, viola; and Paige Stockley, cello - exploring a sonic vision of American culture presented by four contemporary composers on their debut Navona Records release, AMERICAN DREAMS.

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.

The chamber ensemble format has historically been able to intimately interpret works with a variety of emotional nuance, and retains flexibility to perform music with myriad influences. ALLUSIONS, an album of evocative chamber works, showcases the expressive and interpretive abilities of contemporary composition and features works by five composers.

"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.

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.

A champion of repertoire and lauded by the New York Times as a virtuoso, double bassist Richard Fredrickson brings his instrument to the forefront on ALL AMERICAN BASS, an album of works composed specifically for him. Joining the Slovak Radio Symphony Orchestra and conductor Kirk Trevor, Fredrickson flawlessly navigates the works by Vittorio Giannini, John Carbon, and William Thomas McKinley. From Giannini’s darkly profound and agitated Psalm 130 to Carbon’s Endangered Species, which portrays the double bass as a wild and powerful beast that gracefully reins itself in, to McKinley’s modern, somber-then-lively Passacaglia, Fredrickson’s command of tone and melody creates an unforgettable recording and serves as an encapsulation of the instrument’s potential.

What do you get when you cross a composer, a bassist, and a conductor? It's no joke, and neither is Aleksander Sternfeld-Dunn. It is, however, a piece called Joker's Wild which opens up Sternfeld-Dunn's debut Navona Records release FIREWORKS, and it's a doozy, a crackerjack double concertino expertly crafted and written to showcase the talents of the Cameradschaft Duo. The piece won Best in Show from the Global Music Awards in 2012.

The music of Irish composer Gráinne Mulvey explores the juxtaposition of polar opposites, pitting the real against the synthetic in finely crafted and thought-provoking works. AKANOS, an all-Mulvey album on Navona Records, includes seven of her works.

From Mozart’s concertos to Jethro Tull’s “Aqualung,” the flute has served as a versatile tool for conveying the spectrum of human emotion. On AERO, flutist Dieter Flury puts decades of study and a handmade golden flute by Yamaha to work to breathe life into works by contemporary composers and spark the imaginations of listeners.

ABHANDEN, Chicago based cellist Chris Wild's debut album on Navona Records, features six compositions for solo cello and small ensemble that stretch across multiple decades and concepts of style. Focusing on the unification of the diverse aesthetics of contemporary music, ABHANDEN seeks to demonstrate the shared ends of expression these six pieces exhibit.

New York City native Michael Cohen surprises with a formidable cross section of his oeuvre, the splendidly and mysteriously named A SONG FOR SILENCED VOICES. Narrowly skirting traditional notions of (a)tonality, this selection of works leaps to and fro between collected serenity and impassioned melodicism. The setups are as diverse as the music: A SONG FOR SILENCED VOICES includes a string quartet, an excerpt of Cohen's opera Rappaccini's Daughter, a Prelude for Piano, a chamber/vocal work titled I Remember based on works from his musical Yours, Anne, as well as the album's namesake piece, which happens to be not a song, but a duo for cello and piano.

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.

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.

Composer Sydney Hodkinson's second Navona Records release, A KEYBOARD ODYSSEY, is a journey through the world of the solo keyboard, exploring the versatility and spirit of both the piano and organ through the composer's perceptive style.

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.

With music echoing themes of persistence in the face of adversity, calls for reflection and attention on acts of injustice, and more, A GRAND JOURNEY VOL. 2 delivers resounding chamber music from a diverse range of contemporary composers. Performed by the critically-acclaimed Trio Casals, this Navona Records release offers a variety of sounds, from traditional classical forms to jazz-infused rhythms, mixed meters, and a deeply-moving piece for solo cello.