The past two decades have marshaled an advent of numerous new professional choral ensembles in the United States, enriching the artistic environment for choral music lovers and professional singers alike. A product of that new landscape, Kinnara Ensemble has forged a bold path in the busy musical marketplace in New Jersey and the surrounding areas. The ensemble was founded in the fall of 2008 by a handful of Westminster Choir College alumni who sought to continue the musical fulfillment they enjoyed as students. Ten years later, Kinnara Ensemble, now comprising singers from throughout the nation, releases this album commemorating our provenance and shared path of musical and human exploration. Kinnara Ensemble strives to honor the capacious choral tradition – that rich inheritance – with exemplary choral experiences that speak to the modern soul. Kinnara Ensemble's first album, Provenance, is a bold step out for this recent arrival on the choral scene. The ensemble tackles a wide array of choral repertoire: di Lasso, Brahms, Poulenc, Paulus... and the austere, stunning, and rarely recorded Lamentations of Jeremiah by Alberto Ginastera.

Astor Piazzolla established a standard and signature structural pattern for his tangos with the composition of Adios Nonino in 1959, involving a formal pattern of fast-slow-fast-slow-coda, with the fast sections emphasizing gritty tango rhythms and harsh, angular melodic figures, and the slower sections usually making use of the string instrument in the group and/or Piazzolla’s own bandoneon as lyrical soloists. This release offers wonderful and stirring new transcriptions of Piazzolla’s works by the late Octavio Brunetti, in which the two instruments- violin and piano- introduce new and vibrant interpretations of several of Piazzolla’s major tango compositions. A legendary tango pianist, interpreter, arranger, and conductor in his own right, Octavio Brunetti understood Piazzolla’s musical passion for tango better than anyone else. The New York Philharmonic named Octavio Brunetti “inheritor of Piazzolla’s mantle” in their program brochure on the occasion of commissioning Brunetti to arrange Piazzolla’s music for YoYo Ma. This release is dedicated to Brunetti for his years of interpreting and performing Piazzolla’s works, as well as his partnership with Grammy-nominated violinist Elmira Darvarova. With this release, they bring to the public their passion for the tango.

This live recording features the New Jersey Chamber Singers 40th Anniversary concert celebration. The program is anchored by the Mozart Requiem and also features festive works of Bach’s Reformation Cantata, Ein feste Burg, because 2018 also marked the 500th anniversary of the Lutheran Reformation. While it is more common to hear these works performed by larger ensembles, this historically-informed performance honors the repertoire’s intimacy by only employing 32 voices and a similarly sized orchestra. All three pieces on this album were touched by hands beyond those of their composers. While many purists have worked extensively to cleanse iconic works of foreign elements, this performance embraces them. Bach’s Ein feste Burg proudly features the extra parts for three trumpets and timpani added by his son, Wilhelm Friedemann Bach. Haydn’s Te Deum was written for Empress Marie Theresa even though he was employed to write music for the Esterhazy court in Eisenstadt. Even though the complete autograph is lost, trombone parts were later discovered to have been written in the hand of his copyist, Johann Elssler. So, it is probable that Haydn delivered a large-scale work including three trombones and three trumpets to the Empress, even though he performed a slightly down-sized version of the same work in Eisenstadt to accommodate the orchestral forces available to him. This recording boasts all extant parts. Finally and most famously, Mozart’s Requiem was completed by Süssmayr following his death in 1791. This album honors a perspective in which early music is still a living art that is capable of change and worthy of exploration.

Quinteto del Fuego consists of five internationally renowned artists, whose artistic accomplishments place each one of them among the very best of their generation. Stephane Chapuis (bandoneon), Elmira Darvarova (violin), Lionel Monnet (piano), George Vassilev (guitar) and Irina-Kalina Goudeva (double bass) are fantastic virtuosos of their instruments who bring exquisite musicianship, refined taste and sublime perfection to their mesmerizing charismatic interpretations. The triumphal success of their concerts in Europe and the United States has solidified the reputation of Quinteto del Fuego as one of the very rare formations which cherish every note of the musical conversation connecting and binding them to the extreme core of the composers they champion. Their unrestrained passion for Astor Piazzolla’s music, coupled with their unerring instincts and deeply-felt affinity for the composer’s intentions, allow them to intertwine their individual vision with the unique original idea of the composer, resulting in unprecedentedly high-voltage performances and electrifying interpretative achievements. This is their debut studio recording of masterpieces by Astor Piazzolla on Affetto/Naxos.

Antonin Dvorak’s concerto for cello and orchestra is arguably one of the greatest works for the solo cello, but more importantly, one of the greatest large-scale works ever composed. Cellist Kate Dillingham, “…an excellent cellist: dignified and compelling…an extraordinary performer,” is the soloist with the Brno Philharmonic, Czech Republic in this exciting new release. In the opening bars, the listener is invited immediately in to the heart of the composer’s creative powers of invention. Recorded in the beautiful Besedni Dum, in Brno, Czech Republic, the phenomenal acoustic and superb artistry of the Czech musicians in their beautiful collaboration with Ms. Dillingham display the full range of color and allow the most profound human emotions found in music to flow forth. The cello concerto differs from Dvorak’s previous piano and violin concertos given the important role of the orchestra, which is an equal partner to the solo instrument throughout the work. In the solo part, Dvorak made remarkable use of the varied and rich sounds the cello can produce, and its unique ability to convey broad, singing melodies. Dillingham’s beautiful tone and fine musicianship bring a fresh interpretation to the grand scale heroism contrasted with the profoundly poetic world expressed in Dvorak’s iconic work. Included on this album are two short pieces Dvorak composed for cello and piano. Due to their immense popularity with listeners, the composer arranged them for cello and orchestra. Tranquility, melancholy and a burnished quality characterize “Silent Woods” op. 68/5, in contrast to the energetic and delightfully playful “Rondo” Op. 94.

Louis Vierne inhabits a unique place in the development of the Organ Symphony. Following in the footsteps of his teacher, Charles-Marie Widor, Vierne brought the organ symphony to its pinnacle with his six symphonies, written between 1895 and 1930. Symphonic in style, structure, and form rather than forces, these solo organ works are exquisite composition examples of the last great late French Romantic organ composer. As the thirty-one movements of these symphonies offer a staggering variety of character, from majestic to whimsical, and from deep despair to unbridled joy; the venues offer an equally broad variety of organs and acoustics.

Concert Organist Eric Plutz performs the Complete Organ Symphonies of Louis Vierne superbly and spectacularly on six separate organs around the United States from New York to Texas. This album is the culmination of “The Vierne Project,” a series of performances of the complete Vierne organ symphonies in celebration of the composer’s 150th birthday in 2020. The University Organist at Princeton University, Plutz is one of only a handful of organists to embark on such a venture. As an organ concert soloist, he has performed on distinguished and historic instruments across the United States and abroad including in Germany, Austria, and France.

“THE GENIUS OF YSAŸE” presents several masterpieces by the legendary Belgian violinist and composer Eugène Ysaÿe (1858-1931), including three world premiere recordings – the first recording of his recently discovered Introduction for Solo Viola, as well as the world premiere recordings of Ysaÿe’s final versions of his Two String Trios for violin, viola and cello (Op. 33 and Op. 34). Ysaÿe’s marvelous Sonata for Solo Cello, Op. 28 is also among the gems on this album, in addition to his most well-known masterpiece – the “Ballade” (Sonata No. 3) from his Six Sonatas for Solo Violin Op. 27.

The performers of this splendid album – violinist Elmira Darvarova, violist Ronald Carbone and cellist Samuel Magill – have been involved for years with Ysaÿe’s String Trio No. 1, Op. 33, also known as “Le Chimay” (a work, hailed in the press as one of the greatest chamber music compositions of the 20th Century), and they presented its New York premiere in 2008. After thoroughly studying and researching manuscripts and various editions of Ysaÿe’s Trios, the artists came across the recently published editions of Ysaÿe’s final versions of his Two String Trios for violin, viola and cello, Op 33 and Op. 34 – as revised and finalized by the composer. These magnificent works reflect the undiminished power of the immortal legacy of Eugène Ysaÿe as a genius musician whose extraordinary achievements as a superstar performer, teacher, ensemble leader, orchestra conductor, and composer spread beyond his time. This album brings superb interpretations of stunningly beautiful compositions, as a glorious tribute to one of the most brightly shining stars that ever graced the world of virtuoso artists – the incomparable Eugène Ysaÿe.

Astor Piazzolla’s greatest masterpieces are given a fresh new interpretation in transcriptions for Violin, Horn, and Piano by three acclaimed artists - Grammy®-nominated violinist Elmira Darvarova (former Concertmaster, Metropolitan Opera Orchestra), hornist Howard Wall (New York Philharmonic) and pianist Thomas Weaver. After performing their Piazzolla tribute program internationally at prestigious venues in Europe and America (including Carnegie Hall), the artists have now also recorded it for a double-CD album presenting 14 world-premiere recordings (14 out of 17 tracks). “Astor Piazzolla - Genius of Tango” introduces the artists’ transcriptions from Piazzolla’s original scores. The inclusion of horn brings a new dimension and richly rewarding symphonic sonorities. Several of the arrangements are by the late great tango pianist Octavio Brunetti (named by the New York Philharmonic “the inheritor of Piazzolla’s mantle”), with whom violinist Elmira Darvarova performed and recorded for several years.

The Fire Within brings three works to light, one of which is a world premiere, “Three Songs for Men’s Chorus” by composer Lou Harrison, and one a world premiere recording, “Dark Night of the Soul” by composer Christopher Marshall, all performed by the internationally renowned Kirpatrick Choir of Rutgers University, conducted by the equally renowned Patrick Gardner. The third work, Lou Harrison’s stirring “La Koro Sutro (The Heart’s Soul)” is a vibrant and moving piece with the choir accompanied by The American Gamelan. La Koro Sutro, a live performance recording, was described by Anthony Tommasini in the New York Times as “…one of the best musical moments of the year.” Composer Lou Harrison had a life-long interest in the use of “found instruments” and those used in this recording appeared in his works of the 30s and 40s for percussion ensemble which he wrote while collaborating with John Cage. His later works were composed with highly chromatic music influenced heavily by Arnold Schoenberg. The 1971 piece featured here, La Koro Sutro, is a setting of the Buddhist Heart Suttra in Esperanto composed for an international congress of Esperanto speakers in San Francisco. The “Three Songs for Men’s Chorus” are settings from the Book of Samuel and Walt Whitman’s “Calamus” in Leaves of Grass. Finally, New Zealander Christopher Marshall’s work, “Dark Night of the Soul” sets mystical text of St. John at the Cross with intricate rhythms of a beautiful lyrical melody with rich choral sonority. It is a perfect piece to end this extraordinary album.

Sonora Slocum was appointed Principal Flute of the Milwaukee Symphony Orchestra in 2012 at the age of 22 and has performed with orchestras around the country including guest principal flute with the Chicago Symphony Orchestra and the Orpheus Chamber Orchestra. She has appeared with the Philadelphia Orchestra on flute and piccolo. Her collaborations as guest principal include touring and audio recordings with the Orpheus Chamber Orchestra as well as visual recordings with the Philharmonia Orchestra of New York at Lincoln Center. Slocum has worked under such renowned conductors as Charles Dutoit, Christoph Eschenbach, Rafael Fruhbeck de Burgos, Sir Simon Rattle, Edo de Waart, Otto-Werner Mueller, John Williams, and David Zinman, among many others. A recent review stated that “Slocum has a HUGE sound...and a wizard’s bag resplendent with technical prowess and musical freshness.” The conception of this debut album, Return, stemmed from Slocum’s interest in astrology and reflected on this period of her life; her first Saturn Return. The tracks on this album represent both pivotal repertoire for flutists and some of the most technically demanding.

A longtime member of two of the world’s most renowned orchestras – The New York Philharmonic and The Philadelphia Orchestra, hornist Howard Wall also performs and records with the All-Star Orchestra, and is an avid chamber music proponent. Among the 22 tracks in his solo album “Music for One Horn”, 16 are world-premiere recordings. This is a kaleidoscopic collection of eclectic styles and genres ranging from Charles Koechlin’s refined impressionism and Elliott Carter’s sophisticated modernism, to Phillip Ramey’s Bartokian reflections, Astor Piazzolla’s melancholic tango mood, Elizabeth Raum’s idiomatic virtuosity, Pascal Proust’s exalted dance rhythms, the poetic inspirations of Georges Barboteu, the otherworldly mysticism of Alice Gomez, the profound emotion of Lev Kogan’s Kaddish prayer, the stunning beauty and unique rhythms of Bulgarian folk music and Venezuelan joropo.

“Music From Five Centuries: 17th C. - 21st C.” is a kaleidoscopic presentation of short musical works belonging to a multitude of epochs, genres and styles, from J.S. Bach, Handel, Couperin and Biber, to Mozart and Beethoven, to romantic, contemporary, blues, folk, jazz and rock compositions. Violinist Elmira Darvarova (the first and only woman-concertmaster of the Metropolitan Opera Orchestra) and hornist Howard Wall (a New York Philharmonic member, formerly with The Philadelphia Orchestra) have selected, arranged and transcribed a number of compositions (some originals, some transcriptions), to compile a Double album release, brimming with a large number of world-premiere recordings (40 out of 45 tracks).

Hymn singing is fundamental in protestant churches, but not normally the subject of an album released worldwide. The musicianship presented here is singular, sung by two volunteer choirs with power and emotion. The inspired arrangements heard on this recording have developed over decades of working with wonderful choirs and congregations, as well as by singing with, and listening to, many inspired colleagues. Some of the descants were conceived for particular services, while other arrangements grew further for special occasions. Several of the brass arrangements were composed for the ordination and consecration of the Rt. Rev. Alan Gates as Bishop of the Episcopal Diocese of Massachusetts in 2014. Australians Michael S. Murray and Stuart Forster have worked together for more than 20 years, including conducting and accompanying in one another’s Episcopal churches, Christ Church in Cambridge and Church of the Redeemer in Chestnut Hill, located on opposite sides of the river Charles in Boston, Massachusetts, and during choir tours throughout America and Europe. Waiting and planning for the right moment to share their combined parish traditions of engaged singing from the vast legacy of hymnody bestowed upon the Anglican tradition has been fulfilled in this album. The installation of the exquisite Schoenstein organ at Church of the Redeemer, the restoration of the acoustic in Henry Vaughan’s exquisite architecture, and the publication of some of Stuart Forster’s hymn arrangements made the timing just right. What you will hear on this album is a superlative combined choir of about eighty voices singing some of the best-known hymns accompanied by a newly designed organ as they’ve never been heard before.

“Le cor français authentique” brings a style of purely French musicianship with an all-French repertoire on a French horn in the hands of a master musician, Douglas Lundeen, who has researched the horn in its various incarnations throughout the ages. Here he plays on a design of the French horn that would have been a standard for the 19th century and beyond. The singular sound of this instrument, as heard on this album, harkens back to some of the best virtuosic players of the golden age of the design. The repertoire of Planel, Tomasi, Bozza, Gounod, Dukas, Saint-Saens and others are presented as these composers intended and “heard” their works to be played on this French valved instrument. The technical competence required for each track is unique, as some of them were regarded as a test of the highest level of performance. The Saint-Saens and Gounod tracks are included as examples of the pure vocal treatment of the horn by two of France’s greatest composers. The Dukas track was the first conservatory test-piece for horn to specifically exploit the newly “legitimized” valve instrument. Tomasi describes what he composed in this way: “I write for the public at large. Music that doesn’t come from the heart isn’t music.” Listening to this album will give you a peek into a world of the French horn which has seldom been heard, and certainly not in one collection such as this, played by one of the instrument’s best and most studied masters.

This release, La Raphaèle: The Art of François Couperin, pays homage to the Italian keyboard master long venerated by the Parisian Académie Royale de Peinture et de Sculpture. This reverence also rang true of François Couperin as a musical creator, who was clearly struck by Raphael's art, and so named the first movement of his Huitième Ordre's majestic opening allemande after the artist. World-renowned harpsichordist Joyce Lindorff recreates Couperin's L'Art de Toucher le Clavecin, Sixième Ordre, and Huitième Ordre with exquisite musicianship honed over four decades of researching and studying the styles and methods of the most famous keyboard composers of the 17th through 18th centuries. She is Professor of Keyboard Studies at Temple University where she has taught historical keyboards and performance practice for the past twenty years. In addition to teaching, she has performed across the United States, Europe, Russia, Japan, and China, and has received solo recitalist awards from the Pro Musicis Foundation of France and the National Endowment for the Arts in the United States.