VOICES OF THE LAND from composer Christina Rusnak guides listeners on a journey through America; celebrating its landscape and its people. The pieces on this album explore the emotions and experiences of settlers; miners; and indigenous people as they navigated the challenges; triumphs; and indignities of early American history. Drawing inspiration from the Homestead Act and the Klondike Gold Rush to the John Day River and Pine Meadow Ranch; Rusnak’s music weaves together the rhythms and sounds of nature with the stories of the nation’s early inhabitants. This album is in keeping with Rusnak’s other work as a composer; focusing on the intersection of place; nature; culture; history; and art. A powerful tribute to the land and the people who shaped it; VOICES OF THE LAND invites listeners to reflect on the complex history of America.

Navona Records is proud to present MUSIC FOR STRING QUARTET; the world premiere recording of renowned composer Leonard Bernstein’s long-lost work. Composed by an 18-year-old Bernstein during his studies at Harvard; the piece has been steadfastly shepherded from its re-discovery to this historic release by former Boston Symphony Orchestra Librarian John Perkel; and is performed here by Lucia Lin; Natalie Rose Kress; Danny Kim; and Ronald Feldman. “Movement I” and the newly-discovered “Movement II,” which was found within the U.S Library of Congress; are accompanied here by the seldom-recorded duo piece Elegies for Violin and Viola by composer Aaron Copland; a musical mentor; collaborator; and dear friend of Bernstein’s.

Navona Records is proud to present CHORINHO, the new album by violist Georgina Rossi and pianist Silvie Cheng. Saturated with Brazil’s rich musical heritage, CHORINHO presents a slew of under-recognized works for viola, including world-premiere recordings of works by João de Souza Lima, Lindembergue Cardoso, and Ernani Aguiar. A solo piano interlude honors Heitor Villa-Lobos, the titan of Brazil’s 20th century musical scene. The concluding track, an arrangement of Chiquinha Gonzaga’s song Lua Branca by the two soloists themselves, hangs over the collection like a light. Vibrant, soulful, and expressive, CHORINHO offers a spectacular glimpse into a little-known area of Brazilian contemporary music.

Celebrated Montréal flutist Joanna Marsden explores the work of eighteenth century French composer Michel Pignolet de Montéclair on MONTÉCLAIR CONCERTS FOR BAROQUE FLUTE from Navona Records. The performances feature The Opus Project, a chamber music initiative founded by Marsden and Christophe Gauthier dedicated to revisiting early musical prints and manuscript sources in order to celebrate the unsung treasures of baroque chamber music. The “concerts” of Montéclair reconcile Italian virtuosity and complexity with French expressive language, exploring a variety of national styles to which he was exposed during his time working in Milan. Orchestrated with flute, viola da gamba, harpsichord, and theorbo, The Opus Project gives new life to these centuries-old compositions for modern audiences.

Bulgarian-born pianist Kristina Marinova harnesses the healing powers of emotional melodies on LOVES ME NOT, a curated selection of soulful classical piano pieces spanning three centuries, from Bach to Rachmaninoff. Within the album’s tracklist lies an impressive range of works and composers: Gluck, Schubert, Chopin, Liszt, Debussy, Scriabin, Tarrega and Satie, to name a few. The compositions are united by their melancholic themes (often sparked by biographical calamity), but like an acorn that falls from the crown of a tree, they bear within themselves a seed of hope, a new beginning.

DANCING IN THE PALM OF GOD’S HAND from J.A. Kawarsky and Navona Records isn’t at all a typical worship album; rather, it’s a cross section through Kawarsky’s oeuvre that encompasses minimalist solo pieces, intimate chamber music, and grand orchestral works. The themes on this album are vast and sweeping, at once lavish and carefully measured, reflecting the great and the minute, like an interplay between human and God. It’s an almost philosophical experience, and one needn’t be religious to enjoy its uplifting qualities.

There are many composers who intertwine eclectic influences into one coherent picture, but few people do it as ambitiously and convincingly as New York City based composer Debra Kaye. On IKARUS AMONG THE STARS, she vibrantly explores themes both real and surreal, perpetual and fleeting, nonchalant, and profound.

Kaye’s sources of inspiration are unnumbered; it seems there is nothing which she cannot turn into a composition. The works presented (two of them multiple award winners) draw their inspiration from Spanish poetry, real-life tragedy, and from the pieces of fellow contemporary composers. All of these sources are woven together by Kaye’s measured choice of tonality, and the resulting tapestry is remarkable.

TITRATION – defined as a process to determine the concentration of one solution by determining the volume in another. No title could be better fitting for Shara Nova’s new cycle of healing songs, recorded by The Crossing with conductor Donald Nally. TITRATION examines the volume of our own bodies, the capacity of our nervous systems, and the concentration of our thoughts and feelings within the two. Styles converge, warm sounds emerge and voices soar next to laughter, humming, and the energy of Shara’s Indie band roots, culminating in a sparkling homage to the culture-building practices of Resmaa Menakem’s Somatic Abolitionist body of work, TITRATION offers a glimpse into the body’s internal method of healing and extends a hand of self-awareness to listeners alike.

CONTENTS:

• Freeze State
• Safety in Peril or Calm
• What's the Vibe, Vagus?
• Titration No. 1
• How Do I Keep on Feelin' in This Mean, Mean World
• Emotion Wheel
• Patterns of Protection
• The Grief of Which I Rarely Speak
• Titration No. 2
• Turn Ya Head
• Imagine a Favorite Place
• I Seek to Change These Habits
• Yes - No
• I'm So Mad I Could Spit Nails
• Notice Sensation
• Pulses
• Titration No. 3

The accordion surely is an evocative instrument, its mere timbre conjuring mellow images of the Italian Riviera or cobbled Parisian streets. One would expect it to be quite out of place in the relatively formal environment of the classical concert hall – and be sorely mistaken, as far as Richard Galliano is concerned. The versatile French composer and accordion virtuoso sets out to elegantly shatter expectations – and his new album MADREPERLA proves him right.

MADREPERLA’s brilliance stems not only from the sheer audacity of juxtaposing the accordion with a full orchestra, nor from the fact that it succeeds spectacularly in doing so. What’s most intoxicating is Galliano’s fusion of symphonic writing with eclectic styles of dance – the pavane, the mazurka, the milonga, the forro, the waltz – whose particular zest, allure and elan pour forth torrentially from these compositions. A triumph.

Hilary Tann’s profoundly lyrical sacred works shine in LUMINARIA MAGNA, a striking and inspiring collection of songs featuring the voices of Cappella Clausura — led by Amelia LeClair — and the exceptional organ performance of Heinrich Christiansen. Tann’s Welsh heritage and homeland is palpable in these sincere musical devotions, transporting listeners to the foggy moorlands of South Wales. Her profound textual setting captures the rich legacy of Welsh hymnals, while simultaneously pulling text and inspiration from the Japanese Haiku and plainsong traditions. There’s no doubt that the chilling and earnest devotions of LUMINARIA MAGNA will captivate listeners in a varied and rich landscape of uniquely sacred songs.

Navona Records presents SHOSTAKOVICH / RACHMANINOFF: SONATAS FOR CELLO AND PIANO, an album that highlights the musical expression and virtuosity of these renowned works.

Acclaimed award-winning soloist Carmine Miranda and GRAMMY-nominated Nashville Symphony pianist Robert Marler combine their virtuosity with the legendary three-time GRAMMY-nominated producer Alan Shacklock and celebrated mastering engineer Tommy Dorsey (Berlin Philharmonic – Deutsche Grammophon) to deliver the highest quality performances of these works.

Deeply expressive with interplay and virtuosic passages, these two sonatas are held to high regard by pianists and cellists alike. Once turning points in the lives of Shostakovich and Rachmaninoff, these works have stood the test of time, rewarded with commanding performances by cellist Carmine Miranda and pianist Robert Marler.

REVIEWS:

These two well-known sonatas are treated to handsome performances. The Shostakovich is perhaps a touch too Romantic, with prominent cello slides, yet a wonderful sense of buoyancy. The Rachmaninoff is passionate and delicate as the mood demands, and never indulgent.

-- BBC Music Magazine

The first thing to be said about their version of the Shostakovich D minor (1934) is its pace – this is one of the swiftest accounts I have encountered, full of vim and vigor in the three fast movements, ardent in its lyricism in the Largo. The sonata was written at a time of emotional upheaval in the composer’s personal life, during his brief divorce from his first wife, Nina. Miranda and Marler catch the music’s mercurial, passionate nature as well as any pair have done.

There is a similar thrust to their account of the Rachmaninoff Sonata, too, full of impulsion in the quicker movements. This permits them to relish the lyrical moments (the opening Allegro’s second subject, for instance, and the Andante third movement) without wallowing in what can sometimes seem like an over-ripe style. Praise to Robert Marler’s accompaniment: a fiendishly difficult part that can easily overwhelm the cello but played here with a lightness of touch that would not be amiss in Schubert.

-- Gramophone

Throughout his lifetime, composer Sydney Hodkinson wrote over 250 works, covering a wide array of genres including educational literature, chamber arrangements, and large-scale orchestral pieces. SYDNEY HODKINSON: CHAMBER WORKS from Navona Records brings four live recordings of the late composer’s string quartets and a trio, Rogatio Gravis, to life with performances from the Benda Quartet and the Jupiter Quartet. With works written in dedication to family members, loved ones, and friends, this posthumous release serves as a perfect parting gift from Hodkinson — a musical display of his compositional prowess and kindness.

Every pianist makes a piece their own, adding flourishes and signature accents, but Marta Brankovich takes artistic interpretation to a new level. Leveraging her passion and irreplicable touch on the piano, the black swan of piano conjures an unforgettable storm on MARTA, THE TEMPEST. This long-awaited exploratory deep-dive into the classical canon delivers fresh interpretations of works by Rachmaninoff, Chopin, Kaufman, Jirásek, and Webber, complete with a solo piano composition by Brankovich herself that offers an inside look into her artistic emergence. Weaving themes of adversity, opposing forces, and oneness with a profoundly emotive approach, Brankovich delivers a powerful program in this Navona Records release.

Edward Hart’s UNDER AN INDIGO SKY features A Charleston Concerto and Under an Indigo Sky, two concertos that celebrate and reflect the history and culture of the Southeastern United States. A native of Charleston SC, Hart finds inspiration in the natural beauty and multicultural heritage of his homeland. A Charleston Concerto was written to commemorate the 350th Anniversary of the City of Charleston; it features a collaboration with the Charleston Symphony and the world-renowned Harlem Quartet. It takes an unflinching yet ultimately hopeful view of the city’s complex history over those three and a half centuries. Under an Indigo Sky for violin and orchestra is a musical love letter written to Hart’s geographical home. It explores both the physical splendor of the mountains and coast, but also the feel and “soul” of these breathtaking places.

Laurence Sherr delves deep into the spirit of resilience with FUGITIVE FOOTSTEPS: REMEMBRANCE MUSIC. Not shying away from musically pointing to suffering and despair, Sherr paints a vivid picture of persecution, trauma, and survivor's guilt but also of silent and active opposition, hope, renewal, and the eventual overcoming of adversity. Through remembrance and tribute, these compositions unapologetically aim to tell stories of Holocaust resistance and survival, not only in concept but also in their individual tonal language: at all times fully conscious of their cultural roots, vast heritage, a sacrosanct sense of belonging, and the duty of defending these treasures. But perhaps, even more, these works reveal pathways to clearer, brighter horizons.