Composers search for inspiration in the past- they study and learn from their predecessors, often borrowing ideas and taking them in new directions. The two praeludia by Dietrich Buxtehude, both composed in the stylus phantasticus (fantasy style) serve as a basis for us to follow some such musical borrowings. Buxtehude's compositional style had a direct influence in J.S. Bach and his successors. New ideas grew out of the stylus phantasticus, influencing later composers such as Franz Liszt and Petr Eben, who heralded the past and proclaimed the future by writing new forms of the praeludium inspired by Buxtehude's style. Gayle Martin is Associate Professor of Music at Mount Allison University, Sackville, New Brunswick, where she is University Organist and teaches organ performance, musicianship, choral conducting, introduction to conducting, and music history. She also directs the Elliott Chorale, and coaches the early music group, Opella Nova.

Known for her spirited and luminous sound, Baroque flute player Alexa Raine-Wright shares her eloquent interpretations with audiences across North America in solo, chamber and orchestral performances. This debut solo recording brings to light a collection of rarely heard works by Giovanni Benedetto Platti (1697–1763), a composer with one foot planted firmly in the Baroque, and the other foot pointed toward the Classical style. Equally at ease on the Baroque flute and recorder, American/Canadian Alexa Raine-Wright has shared her passion and talent for early music with audiences across the United States and Canada in solo, chamber and orchestral performances. Winner of several national and international competitions, Alexa was awarded the $10,000 Devonna & Amos Gerber Grand Prize as well as the Indianapolis Baroque Orchestra Prize at the 2016 Indianapolis International Baroque Competition. ​Alexa is a founding member of the ensemble Infusion Baroque, winner of the Grand Prize and Audience Prize in the 2014 Early Music America Baroque Performance Competition in Chicago. She is also a member of the celebrated recorder quartet Flûte Alors!, Canada’s only recorder quartet.

This new album features premiere recordings of contemporary works for solo violin composed by Canadian women and performed by Nova Scotia violinist Dr. Gillian Smith. Works include "Cinque Danze per Violino Solo" by JUNO award winning composer Ana Sokolovic, "Versprechen" by Kati Agocs (now a composition professor at New England Conservatory) and "Inside the Stone" from Canadian-Australian composer Veronika Krausas. Recorded at the beautiful stone sanctuary at First Baptist Church Halifax, these recordings show the intense, passionate and imaginative works of Canadian women composers for solo violin, very few of which have been previously recorded.

At the turn of the 20th century, Paris was a hotbed of musical change. Rather than fostering the emergence of a distinctly French sound, however, the city's most creative spirits sought to purge the influence of Germanic artistic ideals. Following an embarrassing defeat in the Franco-German War, the French vowed to distance themselves from Germany's lofty Wagnerian shadow and to promote homegrown talents with unprecedented fervor. And so the colorful wash of na�vet� associated with early-twentieth-century French music was more the result of dismantling a German stronghold than building a French one. In musicologist Richard Taruskin's words, "[the French] aimed at the deflation of rhetoric-an especially pointed gesture in the face of German expressive maximalism-and placed a renewed premium on immediate physical sensation." The official doctrine-ars gallica-was given through the Soci�t� Nationale de Musique, which was founded by Camille Saint-Sa�ns in 1871 and kept afloat by such luminaries as Gabriel Faur�, C�sar Franck, and Jules Massenet. Each of these men played a central role in nurturing those who would shape France's musical future. The focus on exporting a national art was so strong, in fact, that traditions thought to hinder this goal were sometimes overlooked. It was under this spell of national pride that Franck opened the Conservatoire's doors to an exceptionally gifted female composer: M�lanie Bonis (1858-1937). Despite a promising start, conventional gender roles forced Bonis to the sidelines of Parisian musical life. And though she continued to compose regularly, producing over 300 works under the masculine pseudonym "Mel Bonis," her music eventually fell into obscurity. The Suite en Trio, Op. 59, dates from 1903 and is scored for flute, violin, and piano. In keeping with the doctrine of ars gallica, which sought an identifiably French music, the work is relatively compact in comparison to the vast forms of Bruckner and Mahler. The opening S�r�nade concerns itself more with the presentation of ideas than with their development-a compositional approach championed by Eric Satie that became emblematic of the new French style. With it's unstable opening sonority, the ensuing Pastorale betrays an early impressionist sound-one that leaves us feeling suspended from the very start, as though lost in a r�verie that echoes Debussy's Pr�lude � l'apr�s-midi d'un faune. In contrast to the opening movements, the closing Scherzo exudes a relentless energy. It's more melodic sections are based on the Pastorale's main tune, which itself borrows from the S�r�nade's contrasting theme. Much like Bonis, Reynaldo Hahn (1874-1947) might have been marginalized in a more traditional environment due to his Venezuelan heritage. These roots expressed themselves through an early interest in the music of his native homeland, but Hahn's early training under Massenet at the Conservatoire ensured his inclusion amongst the French. In this light, it is perhaps surprising that the Romanesque in C major (1910) is patently non-French in that it draws inspiration from an Italian folk dance. By invoking music of the commoners, however, the work elevates simplicity to the realm of high art, thus aligning itself with a feature common to the French aesthetic. Characterized by modal harmonies, a piano that acts like a harp, and an economy of musical materials, Hahn's Romanesque epitomizes the trivial-the antithesis of pretension-in music. Straightforward throughout, the piece closes with a clever exchange of instrumental timbres. Triviality as a counterargument to pretension held sway as a desirable aesthetic throughout the early-twentieth century. This was just as true for the themes that inspired composers as it was for the music itself. Nature scenes including mythological creatures were a common source of inspiration and often emphasized the jesting character of their subjects. Flautist Philippe Gaubert's (1879-1941) M�dailles Antiques divides into two tableaux, the first of which depicts nymphs at a fountain. The bubbling spring that bursts forth in the music's opening gesture eventually cedes to a more sombre passage, only to return in full force before giving way to the second tableau-a dance of unbridled joy cloaked in the lush sound of tertian harmonies (e.g., sevenths, ninths). A similar harmonic palette pervades Claude Debussy's (1862-1918) Violin Sonata in G minor-the composer's last work. In addition to tertian harmonies, the music exhibits a mixture of plain triadic and whole-tone sonorities, both of which hearken back to Debussy's early style. In a more forward-looking vein, the sonata's sparse texture foreshadows a defining aspect of the neo-classical movement, which would take hold shortly after the composer's death. Perhaps most salient with respect to stylistic concerns is how far the music ventures from a firmly grounded tonality-a feature especially noticeable in the last two movements. Although written nearly 40 years later, Francis Poulenc's (1899-1963) Sonata for Flute and Piano shares much in common with Debussy's sonatas, including it's relatively free form-a similarity that Poulenc himself acknowledged: "It's very similar to Debussy's Sonatas; that is to say, very free.' Unlike many composers of his time, including Debussy before him, Poulenc never felt obliged to challenge traditional tonality. Instead of uprooting the entire system, he relied on beautifully timed shifts in harmonic color to personalize his harmonic language. This subtle shading is most effective in the Allegro malinconico, though it accounts for several tender moments in both the Cantilena and Presto giocoso. Maurice Durufl� (1902-86) shared Poulenc's penchant for tonal harmony, though his harmonic language is somewhat less conservative and more modally driven. From the very start, his Pr�lude, R�citatif et Variations, Op. 3, conjures a sound-world of times long past. Allusions to music of the 14th century provide a suitable context for the snippets of medieval chant that surface from time to time.

Resonance is the debut album of Canadian cello-marimba duo Stick & Bow. These classically trained musicians present original arrangements that span a wide spectrum of musical styles, from Bach to Radiohead. This album transforms the listening of familiar works in refreshing and unexpected ways while introducing the audience to daring new music from active composers. The energetic duo Stick & Bow was formed by the encounter of Canadian marimba player Krystina Marcoux & Argentinian cellist Juan Sebastian Delgado in the vibrant city of Montreal. Classically trained musicians, they strive to present a wide spectrum of musical styles, ranging from rock to gypsy-jazz, Baroque or tango. Their eclectic repertoire features original arrangements of some of the most celebrated works in history, showing the potential of their instruments combined. In their creative process, they unite musical narration with humor and storytelling in which the powerful arrangements for cello & marimba transform the listening of familiar works in refreshing and unexpected ways. Stick & Bow is also strongly committed to the music of our time, commissioning works that are daring yet accessible from composers such as Luis Naon, Camille P�pin, Luna Pearl Woolf, Jason Noble & Marcelo Nisinman.

Ode & Ballade by Skye Consort & Emma Björling brings stories of medieval saints and sacred wells, fair maidens outsmarting presumptuous knights, beautiful or boisterous drinking songs, thieves meeting their fate, heartbreaking love songs, groovy dance tunes, and celebrations of the return of Spring. The album combines elements from world music and classical traditions to narrate poems, tales, legends, and sonnets from Sweden, Ireland, Scotland, France and more.

Skye Consort was formed in 1999 to bring an art-music aesthetic to folk music from different world traditions. They have performed and toured extensively with various collaborators and released seven full-length albums. In November and December of 2018, in collaboration with Emma Björling, Skye Consort created a new repertoire sourced from Scandinavian, Québecois, and Celtic roots. Skye Consort & Emma Björling won the OPUS award for Best World Music Album 2019.

Listen to Ode & Ballade wherever you stream your music.

Introducing ‘Tzimtzum,’ an illuminating album by composer Jaap Nico Hamburger. The title work, ‘Tzimtzum,’ was commissioned by Montréal Festival Classical and had its premiere in May 2023 as part of the ‘Lux Aeterna’ gala event. Rooted in the Kabbalistic concept of ‘Tzimtzum’—the act of contraction or withdrawal to create space—the album serves as an aural contemplation on making room for creative potential and human emotion. The essence of ‘Tzimtzum’ beautifully mirrors the eternal light celebrated during the holiday season, especially resonating with the Festival of Lights, Hanukkah.

La Scena Musicale hails Montreal-based pianist David Potvin as a rising star of 2022. As winner of the 45th Eckhardt-Gramatté National Music Competition, he toured across Canada in the fall of 2022 with a diversely curated program of Canadian repertoire and quickly established himself as one of Canada’s most exciting contemporary pianists. "Catharsis" is an album that expresses an emotional release experience, often of complex, deeply held, or repressed emotions. The experience later transforms into peace, tranquility, and, most importantly, a shift of perspective. This album’s pieces were selected on his tour across Canada, where Potvin performed music exclusively by Canadian composers. These compositions include works from Chris Derksen’s "Growing Forgiveness," Keiko Devaux’s "murmuration," and Jean Coulthard’s "Preludes for Piano" and "Canada Mosaic: The Contented House" (arranged for piano by David Potvin), which has never been recorded before. The album starts with Derksen’s "Growing Forgiveness," an artistic response to the tension she felt in certain relationships during the pandemic; a truly serene ending follows the piece’s driving climax. Followed by Coulthard’s 13 Preludes, they are all imbued with deep emotional expression, and over the complete set, tension peaks near the end. Then Devaux’s "murmuration" is not explicitly an exercise in emotional expression: pianistic gestures describe the movement of small birds moving in large flocks. "Catharsis" concludes the album with a piano arrangement of Coulthard’s "Canada Mosaic: The Contented House," a meditative reflection that gives the listener a moment to contemplate the churning passion.

Introducing Fifteen Feet Closer to the Sky by Adam Zinatelli, Principal Trumpet of the Calgary Philharmonic Orchestra. Adam's musical journey began with a simple idea: collaborating with composers to create unique pieces for trumpet Over a decade in the making, Adam proudly presents this dream project. Each track on the album is a premiere recording. The composers featured here capture the diverse beauty of contemporary music inspired by the trumpet's expressive range. Fifteen Feet Closer to the Sky features works like Sung in a Rickshaw (2010) by Gabriel Dharmoo, a vibrant blend of South Indian Carnatic music influences. Trio Lyrical (2010) by Tobin Stokes highlights three trumpets in harmonious melodies. Jeffrey Ryan's Legacy (2022) and Open and Shut (2022) pay homage to composer Donald Erb, pushing the trumpet's limits. Eric Nathan's Four Sculptures (2007) presents contrasting movements for two trumpets, while song without words (2008) by David John Lang explores the dialogue between flugelhorn and piano. In The Tarantella dell’Ubriaco (2020) by Claude Lapalme, the cornet takes center stage in a lively romp. Dorothy Chang's All that glitters (2023) weaves expectation throughout its movements, thanks to the support of the Canada Council for the Arts. Karen Donnelly, Principal Trumpet of the National Arts Centre Orchestra, delivers Fanfare for the Backyard Birdfeeder (2020), a unique exploration of birdsong on the trumpet. Fifteen Feet Closer to the Sky is a testament to innovation, dedication, and the enduring power of music, offering inspiration to all, especially trumpet players."

Introducing “East is East”, the latest album from Infusion Baroque. This fourth album from the Montreal-based ensemble is a fusion of Western Baroque, Persian and Indian music traditions. Featuring collaborators Amir Amiri, Hank Knox, Thibault Bertin-Maghit, Hamin Honari, Vidita Kanniks, and Shawn Mativetsky, the thirteen tracks see Western and Eastern musical traditions find common ground in transcultural music.

In “Bergamasca” and “La Folia”, baroque composers are realized with Persian santur, tombak, and daf alongside the Western harpsicord, violin, cello, and recorder. Amiri’s compositions “Raghse Choobi” and “Aghrab” sees Persian folk melodies from Iran and Azerbaijan brought West, while “Saghi Nameh” and “Cortege” make use of Persian harmony alongside the textures of western counterpoint. Vidita Kanniks brings arrangements of traditional Hindustani melody in “Sandhya Raga”, with her own vocals dancing nimbly above Shawn Mativetsky’s Indian tabla and Baroque and Persian instrumentalists.

With a title inspired by “The Ballad of East and West” by Rudyard Kipling, “East is East” is a collaboration that ignores the borders that divide us and finds the musical common ground that unites us from the farthest corners of the earth.

Find “East is East” wherever you stream your music.

Luminous Voices presents Brahms’"Ein deutsches Requiem" alongside contemporary pieces by Zachary Wadsworth in the album 'Fire-Flowers.'

Exploring themes of loss, grief, and hope, the album is led by Timothy Shantz. Laura Brandt (soprano), Jonathon Adams (baritone), Cheryl Emery-Karapita (piano), and Leanne Regehr (piano) collaborated to bring these pieces to life. Wadsworth's"Battle-Flags," is inspired by Walt Whitman’s Civil War experiences. Brahms’ iconic Requiem reflects personal tragedies and calls for empathy. The album concludes with"Fire-Flowers," where Wadsworth captures E. Pauline Johnson’s poem in a musical tale of optimism and renewal.

'Fire Flowers' will be available on January 12, 2024.

Step into a realm of musical enchantment with Luminos Ensemble's forthcoming album, "In the Crystalline Vault of Heaven." This collection of ethereal harmonies and transcendent melodies is a testament to the ensemble's dedication to innovation and artistic excellence. With a profound passion for small ensemble performance, Luminos Ensemble, under the guidance of Artistic Director Dr. Margot Rejskind, presents a transformative listening experience that engages both heart and mind. From the captivating shores of Prince Edward Island, composers like David Buley and EKR Hammell lend their talents to the album, infusing it with a unique maritime spirit.

The album's journey is an exploration of emotions and themes that resonate universally. Delve into the introspective "I am an Island that Dreams" and the contemplative "Trust," both composed by gifted artists from Prince Edward Island. These compositions, among others, weave a tapestry of sound that is both captivating and thought-provoking. Luminos Ensemble redefines the choral experience, forging connections between artists and audiences, and inviting you to actively partake in this musical journey. Available soon on Leaf Music, this album promises to enrich your sonic horizons and inspire your imagination.

Introducing "ISPICIWIN," the new album by Luminous Voices. The title track captures a collaboration spanning months and years, representing both a personal and collective journey. Andrew's compositions, infused with Cree text, evoke a range of emotions – yearning, hope, fear, and spiritual longing. The album features remarkable artists: Jessica McMann on bass flute and Walter MacDonald White Bear on Native American courting flute and guitar.

Alongside Antognini's "I am the Rose of Sharon," it includes works by Canadian composers from Turtle Island. Luminous Voices' exceptional performances and commissioned premieres enrich the collection. Andrew Balfour is an innovative composer/conductor/singer / sound designer with a large body of choral, instrumental, electro-acoustic, and orchestral works. Jessica McMann, member of Cowessess First Nation in Saskatchewan, is an Alberta-based, multidisciplinary Cree artist. She interweaves land, Indigenous identity, history, and language throughout her dance and music creation/performance practice.

Walter MacDonald White Bear’s music reflects his personal journey as a First Nations person in Canada. Luminous Voices, known for illuminating choral music, continues to captivate audiences through performances, recordings, and workshops. ISPICIWIN marks the fifth commercial recording for Luminous Voices and the third that the choir has released through Leaf Music. Join this odyssey where the music reflects an incredible array of talent from composers closely connected to Luminous Voices both in geography and in creative collaboration.

Intimate. Cosmic. Two words that describe not only my ideal musical vision—music that invites us into an experience with the warm; welcoming touch of the familiar; only to then show us the universe—but also the piano trio ensemble itself; which is somehow both very small (three musicians!) and very grand; symphonic even. I am thrilled to have my four piano trios represented on this album; along with a handful of piano trio subsets that I felt complemented these works. I have long been fascinated by music’s ability to transport us; to serve as a bridge to places that lie beyond the scope of everyday experience and language. For me; music offers a glimpse into an emotional and spiritual reality quite distinct from the ordinary; "objective" world. Perhaps unsurprisingly; the theme of childhood—a time of life where these hidden realities are more likely to manifest; in the form of the fantastical—pervades almost every work on this album. Sometimes the connection is explicit; as in the album’s closing work; A Simple Secret (2019); which takes its title and inspiration from Antoine de Saint-Exupéry’s Le Petit Prince; a novella I have had the privilege of musically interpreting several times in my career. This gentle piece is a loose adaptation of themes I composed for the film score to Charles Officer’s documentary; Invisible Essence. Over the course of the piece’s six minutes; the violin and cello engage in a ritual of friendship that echoes that of the Fox and the Little Prince in Saint-Exupéry’s fable of childlike wonder; culminating in the Fox’s "simple secret": “What is essential is invisible to the eye.” In my solo piano piece The Dreamer (2017); fantasy is conjured through more abstract means; a single; repeated E-flat provides the foundation for a dazzling kaleidoscope of sound; a metaphor for the sleeping consciousness that dreams entire worlds into being. By the end of the piece; the E-flat has dissipated into a cloud of ethereal filaments. Still more abstract is my Piano Trio No. 1 (2004); an early work whose sparse; mostly serene language was inspired by the sense of meditative awe found in the films of Hayao Miyazaki. On occasion; my affinity for the fantastic takes a surrealistic turn. Composed during the third year of my undergraduate degree at the University of Toronto; Timescape Variations (2003) offers an early glimpse into this language. The piece is a theme and variations on A Musical Offering; in which Bach’s restlessly chromatic theme is subjected to a variety of "temporal" variations—stylistically warped episodes that recall Schnittke; though the Brahmsian finale betrays my Romantic side. A darker kind of surrealism—influenced in part by Michael Ende’s short story anthology; Spiegel im Spiegel (Mirror in the Mirror)—emerges in the violin and piano duo If Life Were a Mirror… (2020). Commissioned by violinist Lynn Kuo and finished just weeks before the onset of the pandemic; the title posits a question: To what extent is the world around us a reflection of who we are—our dreams; our anxieties; our nightmares? My response was to construct a phantasmagorical labyrinth; littered with musical artifacts that reflect one another like a hall of mirrors. Some of these artifacts take the form of musical quotations from well-known classical pieces; others are almost-quotations; tip-of-the-tongue references without a specific anchor. Memory plays an antagonistic; slippery role throughout; indeed; a literal memory slip is built into the piece (listen for the violinist’s frustrated collapse several minutes in!). The question of whether there is a reality in this piece; beneath (or beyond) what we have already heard before; is up to the listener to decide. In late 2020; I wrote a set of pieces called Intuitions; which were intended to be played by musician partners who occupied the same social "bubble." One of these ("Intuitions No. 2") was written specifically for cellist Rachel Mercer and her partner; violinist Yehonatan Berick. Conceived as an exploratory dialogue between the two instruments; the piece unfolds like a somewhat unpredictable dance that flickers between multiple stylistic traditions; passionate and playful in equal measure; but one where the partners are always in step. The piece was inspired by; and ultimately dedicated to; Yehonatan and Rachel—and the dance they created together. Yehonatan passed away—suddenly and unexpectedly—shortly after "Intuitions No. 2" was completed; leaving behind a grief-stricken musical community; family; and partner. The centrepiece of this album—the large-scale piano trio Under a Veil of Stars—was commissioned originally by the AYR Trio; which at the time was composed of Angela Park; Yehonatan; and Rachel. Yehonatan’s passing altered not only the constitution of the trio; but the music itself—its materials; structure; and purpose. What began as another fantastical journey became; instead; a tribute to a man; whose legacy of inspiring others I have tried to do musical justice to. It is a memorial painted not in sombre hues (although there are certainly sombre moments) but in vibrant; life-affirming colours. It is a work that embraces lyricism; virtuosity; passion; otherworldliness; and—eventually—a kind of grace that I can attribute only to Yehonatan’s guiding spirit. The trio is structured in three movements which—taken as a whole—suggest a broad life cycle that chronicles childhood; adulthood; and old age. The first movement ("I. The Stars Are Never Still") is based on a short story I wrote in 2021 for my friend’s one-year-old daughter; about a girl who chases (and catches) stars. The music explores the spirit of wonder and adventure associated with childhood; with shimmering textures evocative of sky brimming with stars; as well as the bittersweetness of surrendering something precious to the will of the universe. By contrast; the second movement ("II. Land of Poison Trees") is a distinctly grown-up meditation on resentment and revenge. A fantastical rumination on William Blake’s poem "A Poison Tree," the movement’s scherzo-and-trio form houses a cauldron of musical snakes—queasy string pitch-bends; explosive dissonances; and a driving; propulsive piano part. Brief lyrical episodes and an eerie; "classical" coda suggest the pretense of civility; which often masks the rage beneath. Rabindranath Tagore’s poem "Sail Away" provides the impetus for the third movement; "III. In That Shoreless Ocean…." This movement reflects an earnest (and at times despairing) attempt to grapple with death; with grief; and finally with the possibility of transcendent reunion. The movement spotlights the cello; both in its opening lament; and in the pastoral; Beethovenian chorale which—after a series of exhausting; oceanic crests and troughs—arrives like sunlight upon the shores of a new world. Under a Veil of Stars is dedicated in loving memory to Yehonatan Berick.

Alice Ping Yee Ho, City Opera Vancouver, and Leaf Music are proud to present Chinatown, a sweeping opera that tells the collective story of thousands of Chinese immigrants who left their homeland between the mid-nineteenth and twentieth centuries in search of a better life for them and their families. The first opera in Hoisanese and English and the first to fuse authentic Chinese folk dialects and cultures into the world of English opera, Ho’s Chinatown is a tribute to the legacy of the people who toiled under the promise of prosperity, and instead received abuse and hardship. Chinatown revolves around the intertwining lives of Saihin and Xon Pon, two young men from Hoisan county in South China who have come to Canada in search of prosperity. We follow their story as they meet, work together, endure hardships and have families of their own. A collaboration between composer Alice Ping Yee Ho, librettist Madeleine Thien, and Hoisanese translator Paul Yee, Chinatown brings together decades of lived experience from thousands of Chinese immigrants in an intimate and emotionally arresting musical and dramatic soundscape. Ho says the opera is intended to be an artistic depiction of the realities facing early 20th century Chinese immigrants. “This album represents an important work that tells the stories and experiences of early Chinese immigrants. It’s clear by the standing ovations and positive reviews that the opera Chinatown is a beautiful and moving story of racism, resilience, and family. I hope this album will inspire the audience the same way as it was imagined in the theatre - the experience of an epic journey of music and drama, both heart-wrenching and heart-warming.”