Catalog

On THE PRIESTESS OF MORPHINE, composer Rosśa Crean and librettist Aiden K. Feltkamp create a beautifully haunting portrait of a Gertrud Günther, a young Jewish lesbian caught between her two selves during the Third Reich, who bravely sought her inner truth and passions while forced to live in the shadows.

Moravian Philharmonic Orchestra | Vit Micka conductor

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.

THE PARMA SESSIONS: Vít Mužík presents a series of recordings by longtime PARMA collaborator and violinist Vít Mužík. Showcasing the artists skill, adaptability, and dedication, this digital compilation features Vít Mužík performing works by a diverse set of composers with myriad influences and styles.

THE PARMA SESSIONS: KAROLINA ROJAHN presents a series of recordings featuring longtime PARMA collaborator and pianist Karolina Rojahn. Showcasing the artist's skill, adaptability, and dedication, this digital compilation features Rojahn performing works by a diverse set of composers with myriad influences and styles.

Peter Greve may be seen as a prime example for music as a late vocation – though it's hard to believe when one hears how deeply his creations root in the bon ton of contemporary musical academia. THE PALACE OF THE DREAMKING offers a cross-section through Greve's eclectic and wildly experimental body of compositional work.

Artists are liminal figures — they cross thresholds and collapse boundaries between past, present, and future.  In THE NEW EPOCH, three musicians from the Boston Artists Ensemble interpret works by French composers Fauré, Debussy, Ravel, and Lili Boulanger, infusing these pieces with unprecedented freshness and clarity. Each celebrated in their own right, cellist Jonathan Miller, violinist Lucia Lin, and pianist Diane Walsh join forces in every duo setting possible from this assortment of instruments. Exploring works written at the threshold of the First World War — with the world crossing into the violent twentieth century and composers reacting with music that looked both nostalgically back and innovatively forward — they underline the commonalities between each composer’s unique voice and reinterpret this music for our turbulent present. Each celebrated in their own right, cellist Jonathan Miller, violinist Lucia Lin, and pianist Diane Walsh join forces in every duo setting possible from this assortment of instruments. Exploring works written at the threshold of the First World War –– with the world crossing into the violent twentieth century and composers reacting with music that looked both nostalgically back and innovatively forward –– they underline the commonalities between each composer’s unique voice and reinterpret this music for our turbulent present.

Composer Eric Klein immediately engages the listener with the mysteriousness of “Nettles,” a quartet for piano, violin, cello, and clarinet. This track’s rhythmic dexterity hints at Klein’s background as a film/media composer, foreshadowing the complexity of the dark, ethnographic “Myth of Tomorrow,” an exploration of the keyboard percussion instruments and the distinctive aspects of the harp.

About 100 years ago, classical music made a jagged turn away from the harmonic structures that had comprised its underpinnings for several centuries. This departure was early-on dubbed atonalism, and opposed the functional harmony that prevailed during the great musical flourishing of the 17th, 18th, and 19th centuries. Composer Sparky Davis, who takes a "modern, not modernistic" approach to writing his music, continues this forward movement, expanding the vocabulary of music to include non-traditional elements and adding to the functional uses of long-established note combinations.

Kim Ellis clarinet Richard Stoltzman clarinet Slovak Radio Symphony Orchestra | Kirk Trevor conductor Clarinet Concerto and Concerto for Two Clarinets & Orchestra Recorded May 2008 in Bratislava, Slovakia with the Slovak National Symphony Orchestra Conducted by Kirk Trevor Clarinet Duet Book [...]

Based on the Ukrainian folktale of the same name, THE MITTEN presents a world built using simple narration as its foundation and a complex composition creating the surrounding universe. Composer Mona Lyn Reese needs only to speak a few short sentences from a children’s tale in each track, and then lets the performers in the Moravian Philharmonic Orchestra carry the details of the story deep into the imagination.

Howard Richards composer Moravian Philharmonic Orchestra | Vit Micka conductor A Frenchman in New York, Grandparent’s Dance, and Young Daughter’s Song Recorded September 2006 with the Moravian Philharmonic Orchestra Conducted by Vit Micka Solo trumpetist on Frenchman in New York Petr Nedbal [...]

Composer Richard Thompson’s three-act opera presents the life behind the name of Paul Laurence Dunbar, one of the most prominent African American poets of the early 20th Century. This dramatic performance, inspired by the hundreds of letters exchanged between Dunbar and his wife, Alice Ruth Moore, removes the masks of fame and social identity to investigate the psychological realities of the people underneath.

Bearing musical witness to the versatile talents of two acclaimed northern California-based composers, THE LIFE BEFORE US combines works from John G. Bilotta and Allan Crossman. Bilotta’s cycle of Yeats Songs, performed by baritone Andrew R. White, highlights five of the poet’s shorter lyrics in predominantly bi-tonal or atonal settings. His collection of Renaissance Songs is based on the work of several Elizabethan poets, including John Donne and Thomas Lodge (whose poem “Rosalynde” was the source of Shakespeare’s As You Like It). They’re brilliantly delivered by tenor Justin Marsh.

THE LEADER from Canadian-American composer Karim Al-Zand is at once timeless and also deeply relevant for the age we live in. A commentary on the rise of fascist tyranny, its titular piece tells the story of a buffoonish charlatan who is adored despite his ridiculous behavior, echoing concerns of the modern day in this chamber opera based on Eugene Ionesco's 1953 satire Le Maître. Another vocal work, Songs from the Post Truth Era similarly comments on the political realities (or unrealities) of our time. The album features several other chamber works by Al-Zand including his Six Bagatelles, with music inspired by the art of Robert Motherwell (1915–1991).

In April 2003, the earliest stringed instrument ever found, the Gold Lyre of Ur, was damaged by looters at the Iraq Museum in Baghdad. In 2004, British harpist Andrew Lowings constructed an authentic and playable replica, and enlisted the help of composer Michael Mauldin to promote the project. Moved by the instrument's legacy and the narrative possibilities of the project, Mauldin composed The Last Musician of Ur for orchestra and harp, crafting a flowing narrative following the last musician to play the historic instrument as she is torn between inescapable destruction and the hope of timeless, international peace.

The idea for THE JOHN PSATHAS PERCUSSION PROJECT: VOLUME ONE began in 2013 with John Psathas’ piano and gamelan piece Waiting: Still which Omar Carmenates arranged for percussion trio. While unknown at the time, this arrangement launched a five-year-long relationship that culminates in Carmenates’ debut for PARMA Recordings. For THE JOHN PSATHAS PERCUSSION PROJECT: VOLUME ONE, Carmenates acts as arranger, director, and performer, and is joined by a roster of talented musicians including pianist Daniel Koppelman and drum set soloist Justin Alexander.

Nothing has ever gripped intellectuals as firmly as reflections about the conditio humana, with all the perceptions, joys and miseries it entails. Israeli pianist and prolific recording artist Hagai Yodan sounds the depths of existence on his new release, THE HUMAN CONDITION, and with great panache. Featuring both piano and the harpsichord, Yodan skillfully navigates through the seas of Being as described by no fewer than six international composers. There is a persistent sense of melancholy, but also of truculence and a certain rage de vivre – an indomitable will to live. In this, THE HUMAN CONDITION isn't merely another contemplation; it's a self-assured declaration.

Chicago-based composer Ross Crean’s opera The Great God Pan soars in this new release, the first collaboration between the composer and PARMA recordings. The Great God Pan takes its story from an eponymous 1890 novella by Welsh author Arthur Machen, which explores themes of scientific hubris, transcendental medicine, and unexplainable supernatural behavior. Impressively, Crean adapted Machen’s narrative into the work’s libretto himself, an ambitious and rare undertaking for a composer. Crean’s familiarity with the story shows through in the emotional resonance of his music, which matches and communicates the character’s concerns and feelings with unflinching precision.

THE GORGEOUS NOTHINGS is composer Ingrid Stölzel’s first full album on Navona Records, although she has also been featured on three compilation albums released by the label. Haunting and lyrical throughout, the album explores themes of beauty, being, journey and transformation. The album’s eleven tracks, some inspired by the poetry of Emily Dickinson and Walt Whitman and some created by Stölzel’s own native curiosity, engage the listener intellectually, emotionally and spiritually.