Glaciers represent some of the most striking examples of nature’s power and artistry, while simultaneously revealing the impact of mankind’s actions. With pieces including a composition for Barack Obama’s 2015 GLACIER Conference in Alaska, Matthew Burtner’s GLACIER MUSIC breaks through the controversy around global warming. With electroacoustic compositions recorded on top of melting glaciers, GLACIER MUSIC makes the issue unavoidable: while we converse and debate over climate change, iconic pieces of natural history are slipping away. Matthew Burtner is an Alaskan-born composer, sound artist and eco-acoustician whose music and research explores embodiment, ecology, polytemporality and noise. First Prize Winner of the Musica Nova International Electroacoustic Music Competition (Czech Republic), a 2011 IDEA Award Winner, and a recipient of the Howard Brown Foundation Fellowship, Burtner’s music has also received honors and awards from Bourges (France), Gaudeamus (Netherlands), Darmstadt (Germany) and The Russolo (Italy) international competitions. He is Professor of Composition and Computer Technologies (CCT) at the University of Virginia, and Director of the environmental arts non-profit organization, EcoSono

On his debt release on Ravello Records, Croatian composer Zoran Scekic presents an open series of compositions aiming to explore the harmony of a non-tempered microtonal system based on integer harmonics, or just intonation. Performed by Croatian pianist Ana Zgur, the pieces on this album explore the use of intervals in five limit just intonation, a method in which intervals are built on the prime numbers 2, 3, and 5. Scekic's economical use of notes emphasizes the contrast between consonant and dissonant intervals in harmony and melody, chord inversions, and use of the syntonic comma. The beauty of his music is not only found in the mathematical structures imposed, but in the space between the notes and in the dynamic progression within the pieces. Works like 23.10 and strong man bring to mind Erik Satie's piano pieces, film music, and minimalism, while autumn fantasy of martin the mouse alternate between moments of powerful chords and wistful high notes, followed by sections of staccato phrases and swaying rhythmic material. Scekic masterfully crafts pieces that on the surface portray often lyrical, placid, and harmonic gestures, yet are richly calculated and complex in their construction

This recording of Ted Moore’s Gilgamesh & Enkidu is beautifully performed by the Enkidu String Quartet. Gilgamesh & Enkidu was funded by a grant awarded by Cedar Cultural Center and the Jerome Foundation in 2013. Ted Moore is an outstanding young composer, educator, and sound engineer, living and working in Minneapolis.

With his Ravello release Embrace the Wind, composer Robert J. Martin communicates the wonder that humanity has for wind through a cycle of string quartets rooted in images and emotions played out across histories as diverse as ancient phoenicia and modern wind farms. The cycle uses contrasting sonorities and melodic material that range from thorny to lush to portray the influence of wind on culture and civilization, from the joy of a child's pinwheel to the power of giant wind turbines. Martin uses strings to portray wind in unique ways. The strings moan like wind, imitate mechanical toys, howl, bite, lull us with gentleness and show us the sweetness of our world.

Ravello Records proudly presents VERDI’S GUITAR, an album by guitarist Alan Rinehart made up of six fantasies for solo guitar by 19th-century composer guitarist/composer Josef (Johann) Kaspar Mertz. Each fantasy is based on an opera of the great Giuseppe Verdi, including such famous works as Nabucco, Rigoletto, Il Trovatore, and La Traviata.

The six Verdi fantasies are taken from a larger Mertz collection of 34 similar pieces based on operas, called Opern-Revue (Op.8). These “revues” were not unlike works for piano by composers such as Liszt, which were arrangements of or fantasies on popular operatic arias. Both these and Mertz’s revues responded to the popular demand of the opera “experience” adapted for a small, private setting. Mertz’s revues are more ambitious, however—they adapt not just a single aria, but the entire opera, compressing a large-scale, 2–3 hour production into a 10–15 minute piece medley for solo guitar. Each revue is essentially a medley consisting of an introduction, arias (with variation), and dramatic high points. Mertz’s Verdi fantasies are even more impressive, considering Verdi’s mid-19th century status as a leading composer of dramatic opera. Mertz retains Verdi’s drama and flair, but also adds an element of intimacy by distilling the operas down to minimal voices in the solo guitar. Rinehart navigates both of these qualities in his historically-informed performances. His interpretations embrace the free lyricism afforded to a solo piece, resulting in new perspectives on Verdi’s masterpieces.

World-renowned clarinetist F. gerard Errante's latest release is a retrospective compilation of avant-garde works previously recorded by Errante in the LP era. These innovative works of the late 20th century, mostly written for or dedicated to Errante, display his wide-ranging mastery and consummate musicality in an idiom that is challenging as well as engaging and compelling.

Deviant Resonances carries the concept of "creative listening" into new dimensions. In addition to the unconventional ways in which the everyday listener is called on to interpret the music, composer David Rosenboom literally uses the action of "listening" as an instrument. The first track, Portable Gold and Philosophers' Stones (Deviant Resonances) (2015), is an epic piece lasting over 35 minutes. Rosenboom achieves a resonant sound by analyzing electrical signals coming from the brains of two imaginative performers. A third performer calibrates a computer system to the responses of what he calls "imaginative listening." This system adapts to the brainwave activity of the first two performers and builds a symphony ranging from quiet beginnings to climaxing crescendos. The resulting sound is simultaneously relaxing and curious. The calming flow of resonance from the brainwaves creates the illusion that time is being slowed down. In this calm, however, one can't help but wonder at the revolutionary use of brain functions as music and the potentiality of the organ inside each of our heads. The ethereal droning with occasional flaring sparks and pops evokes a timeless, spaceless experience which listeners from anywhere in the world can explore. The album continues with it's experimental approach to the reverberation of space using electronics and computer algorithms in tandem with live instruments. Though only half the length of Portable Gold, compositions like The Right Measure of Opposites and Earth Encomium explore the same "nothingness" of space but offer grounding in the physical world through instruments like live piano. The album concludes with The Experiment and Four Lines (String Quartet). They are the only tracks to use voice and strings, respectively. These compositions call on attentive listeners to experience a constant volley between electronic and conventional instruments as they warp time and space, embellish the soundscape, and attempt to achieve a perfect synchrony.

The Fuego Quartet, featuring saxophonists Nicki Roman, Erik Elmgren, Harrison Clarke, and Gabriel Piqué, makes their Ravello Records debut with the innovative MIGRATION, a collection that demonstrates the versatility and complexity of the saxophone as it migrates through genre boundaries. The album kicks off with Recitation Book, a set of five pieces by composer David Maslanka that transform Bach chorales, madrigals, Gregorian chants, and more into various forms and structures. These arrangements, as performed by the Fuego Quartet, bring listeners into a calm listening sphere that reflects the music of the past in the midst of our busy, technology-saturated world. This set leads into William Albright’s Fantasy Etudes, the more loosely-formed, jazzy arrangements by the late 20th-century composer. Standing as a threshold in the middle of the album, Fantasy Etudes welcomes listeners away from familiar audial experiences into the realm of the slightly less familiar, more experimental sounds. Albright’s compositions make for the perfect lead into Ornithology S, the work of contemporary composer Clay Mettens that is inspired by visual artist Juan Fontanive’s flipbooks of the same name. The saxophones recreate the sounds of birds singing as they fly, as well as using key clicks and slaps to imitate the turning of the mechanical book. Bringing the visual pieces to life while also showing the sonic possibilities of the saxophone, Ornithology S is a stunning conclusion to this fascinating collection. The saxophone has had a unique history as a classical instrument, from its challenges entering into that particular sphere to its welcoming in via jazz and rock music. With MIGRATION, Fuego Quartet demonstrates all that is possible with the saxophone, showing how it transcends musical boundaries with ease.

"Illustrating the impact of Appalachian folk music on his compositional style, Appalachian Inspiration, composer John Beall’s debut album on Ravello Records, features three piano and string pieces that represent Beall’s expressive grasp of both folk tunes and traditional formal techniques. John Beall has been Professor and Composer-in-Residence at West Virginia University since 1978 His compositions have received performances by both chamber groups and orchestras."

Through the Reeds is a collection of woodwind concerti from American composer Walter Ross. A lifelong musician and composer, Ross has historically worked most closely with instruments in the woodwind family; the four concerti on this album, all of which feature woodwind solo, highlight his preference for the family and his keep ability to compose works for oboe, bassoon, and flute.

McCormick Percussion Group: Music for Keyboard Percussions

Keyes, C.: With a Distant Eye

Tower Duo, comprised of flutist Erin Helgeson Torres and saxophonist Michael Rene Torres, has selected the works of several notable composers for Crosswind, their first release with PARMA Recordings. The duo, whose particular interest lies in performing and premiering contemporary works by emerging composers, has premiered many of the pieces on the album, several of which were written specifically for the two artists. Erin Helgeson Torres is the Lecturer of Flute at Ohio Northern University, Muskingum University, and Ashland University. She performs regularly in various area orchestras including the Columbus, West Virginia, Central Ohio, Springfield, Westerville, and Lima Symphonies. Erin graduated with a Doctorate of Musical Arts and a Masters of Music from The Ohio State University in Columbus, Ohio. She received her Bachelor of Music Performance at Stetson University in DeLand, Florida. She completed her Artist Diploma at the University of Cincinnati, College-Conservatory of Music. Michael Rene Torres, currently serves as Lecturer of Saxophone at The Ohio State University and Instructor of Saxophone and Composition at Muskingum University. He is also the founder and Artistic Director of the Columbus Ohio Discovery Ensemble, a contemporary music ensemble that is dedicated to the promotion, performance, and perception of new music in Central Ohio. Additionally, Michael is an Advisory Board member of the Johnstone Fund for New Music, which advances the performance of new music for the benefit of the Central Ohio community.

Montréal percussionist David Therrien Brongo dexterously creates dynamic musical worlds on CONFLUENCE, a highly melodic album of solo percussion compositions by French Canadian contemporary composers. Both meditative and stimulating, the album makes for an impressive demonstration of the possibilities of this rare genre. Brongo’s world-class performance is not only highly virtuosic in the technical sense, but also emotionally rich, nuanced, and deeply saturated with empathy. There is a zen-like quality to his interpretations, in which the silences are given as much gravitas as the sound around them, and both notes and rests are searing with constant energy. It’s a remarkable approach, and instantly recognizable.

If someone told you there was music that could lull pillowy-winged moths into a fluttery state of happiness, that the Aurora Borealis can sing even better than you and I, or that the roots of the American elm trees in Central Park are a bustling ensemble waiting for their cue, would you believe them? Matthew Burtner would, and he'd have no trouble proving it on PROFILED FROM ATMOSPHERES, the veteran ecoacoustic composer's sixth release with Ravello Records. Burtner lifts the veil between humanity and it's planet, translating it's messages into an intimate medium invariably understood amongst it's inhabitants. These messages make an urgent case in the titular work Profiled From Atmospheres, a collaborative work between atmospheric sound profiles derived from humanity's top three greenhouse gas emissions and saxophone/percussion duo Michael Weiss and Elizabeth Soflin. The result is an eerie, haunting sonification that serves as a poignant reminder; if we want to continue hearing the songs of the atmosphere and the planet it blankets, it's our responsibility to preserve it.

On the coasts of the Atlantic, sparrows whistle atop the trees, Eastern winds whisper through spartina grasses, and fiddler crabs skitter within their sandy burrows — a great symphony of shorelines soon to be left incomplete. As rising sea levels continue to threaten coastal reefs, shores, and the hundreds of lifeforms inhabiting them, the Coastal Conservatory urges us to consider our efforts of restoration and offers us an avenue for restoring coastal futures, a meditation on the music of the most integral barriers to the ever-pressing Atlantic. SOUNDSCAPES OF RESTORATION is both an exploration and a reflection, a listening experience that leaves one changed with the desire to make change further. It is a journey that cannot, and should not, be forgotten.

NOWS from David Rosenboom and Sarah Belle Reid is a captivating expression of the radical challenges brought on by the COVID-19 pandemic. The music examines the notion of “co-presence,” or togetherness, when experienced in isolation. This seemingly self-contradictory concept became an everyday occurrence as in-person gatherings became video conferences. Performer-composers Reid and Rosenboom spent this time passing fragmented musical ideas back and forth. In this organic way, a collection of “sound correspondences” accumulated between the two artists, made with instruments ranging from strings and horns to modular synthesizers, analog signal processors, urban and desert soundscapes, and much more. The resulting album, NOWS, is a post-genre masterpiece that speaks to our unique moment in history.

The second volume of James Dashow’s SOUNDINGS IN PURE DURATION offers listeners a unique audiophile experience. The album of Dashow’s music for electronic sounds and instrumental soloists includes the last four works in the Soundings in Pure Duration series as well as the re-release of his Bourges Magisterium prizewinning work …at other times, the distances. The album is also available on DVD, giving listeners access to surround-sound (5.0) mixdowns of the pieces as well as composer-prepared stereo mixdowns that have been spatially enhanced to approximate a wider audio field. According to Dashow, this presentation of his octophonic and quadraphonic electronic music is second only to a live concert performance in terms of realizing his artistic vision for the music.

Ravello Records presents Soprano Summit from revered saxophonist Paul Cohen. Alongside his work as a performer, Cohen is known for his passionate scholarship, rediscovering long-forgotten saxophone works as well as arranging related music for the instrument. In this, his latest contribution, Cohen presents an album of music for the soprano saxophone in chamber and solo settings. The range and diversity of the soprano saxophone is stunning, from Cohen’s arrangement of Percy Grainger’s Arrival Platform Humlet (solo soprano saxophone) to Amanda Harberg’s first piece for saxophone, Feathers and Sax, (soprano saxophone and piano) and Jeff Scott’s new work The Gift of Life (piccolo, soprano/alto saxophone and piano). SOPRANO SUMMIT is both a celebration of the soprano saxophone as a concert instrument and a revelation of new, lost, revived, and beloved works.