PREACH SISTER, PREACH showcases award-winning Katherine Jolly's "agile, bright lyric soprano" voice (The New York Times) on a series of pieces that are distinctively individual in their inspiration while cohesively united by the passions of their composers. Collaborating with pianist Emily Yap Chua, Jolly evokes the passion and curiosity of Emily Dickinson's poetry in Evan Williams' Emily's House, a collection of ten poems in which she communicates the lyrics such that one could imagine the voice being that of the poet's herself. A keen observer, Dickinson used images from nature, religion, and science to probe universal themes: the wonders of the natural world, the identity of the self, death and immortality, and love. Together Jolly and Chua breathe incredible new life into these ideas, delivering a personal and profound performance while transporting modern audiences to another place and time. Jolly turns to inspiration of a more contemporary and crucial nature on Absent an Adjustment in which her voice, ominous and purposeful, floats above and around the strings, frequently in a dissonant duet with the clarinet, heightening the intense spirit of the piece. The acrobatic coloratura vocal line, use of repeated motives and text, combined with the highly rhythmic ensemble in Katherine Bodor's Absent an Adjustment, support it's message of urgency in the face of ecological disaster. Acclaimed composer Evan Mack was inspired by the energy of the first women's march to craft Preach Sister, Preach, a song cycle which explores and celebrates the voices of ten powerful women such as Lucille Ball, Mae West, Simone de Beauvoir, Tina Fey, and Ellen DeGeneres. The intricate collaboration of Jolly and Chua succinctly portrays the power of the quotes from these women and, in doing so, offers both musical and lyrical insights into the women themselves.

Jonathan Sheffer’s The Conference of the Birds is presented on this new release from Navona Records. Two versions of the work are recorded here: the first, with narrator Joyce DiDonato, and the second, without narrator. Performing this work is the Moravian Philharmonic Orchestra, conducted by Jonathan Sheffer.

On THE TOWER AND THE GARDEN, the multi-GRAMMY winning choir The Crossing and conductor Donald Nally ponder the fragility of the earth, the awe of nature, and the power of language to unite, or divide, society. Chicago's best-known early music ensemble The Newberry Consort exhilarates with VESPERS, a collection of dazzlingly original music for women’s voices. The composer? A mysterious early-17th-century Mexican named Juan de Lienas, whose style energetically oscillates between Renaissance and Baroque elements. Little is known about de Lienas beyond the manuscripts, which, much to the undeserved discredit of the poor composer, occasionally include unflattering personal remarks scrawled in the margins. Perhaps that these insults on his appearance and personality stemmed from mere envy, for the music captured by his hand presents such skill, wit and zest that it can still be enjoyed a full four centuries after its inception. Not an easy feat by any means, and certainly facilitated by a spectacular performance of The Newberry Consort under the direction of director and soprano Ellen Hargis. Since the music on VESPERS was originally composed for use in women's convents, the bass voice is either sung up the octave, or replaced by bassoon or viola da gamba. The result is graceful, airy, ethereal, otherworldly. Easy on the ears not only for lovers of early music, and for these: a veritable treat.

Navona Records presents Michael Kurek’s SYMPHONY NO. 2: TALES FROM THE REALM OF FAERIE, a rich musical tapestry intertwining the colors and characteristics of many fantastical worlds the composer has entered and loved. Performed by the European Recording Orchestra, a certain spirit of unspoiled beauty, innocence, nobility, hope, and heroic goodness stretches across four movements, each giving the listener creative control of the worlds they conjure. With a well-balanced lineage of traditional compositional techniques running throughout his symphony and other works for choir to follow, Kurek presents a dynamic assortment of work that keeps the spirit and heritage of classical music alive.

SYMPHONY NO. 3 from composer Michael Kurek is a tribute to the history and natural beauty of England. The work is fundamentally Romantic, but is also influenced by Edwardian music and English folk melodies. The composer draws inspiration from personal memories, nature, poetry, and art; "Upon a Walk in the English Countryside," recalls the lush, pastoral beauty of the English countryside, while "The Lady of Shalott" nods to Waterhouse's colorful, pre-Raphaelite depiction of Tennyson's famous poem. The symphony's conclusion, "The Major Oak of Sherwood Forest," celebrates the roughly 1000-year-old tree in Nottinghamshire and is perhaps the most climactic of Kurek's works.

Meditative yet propulsive. Structured yet sprawling. Gossamer yet muscular. Inspired yet meticulously constructed. METHOD MUSIC by Lawrence Ball is all of these and more, a double album of highly adventurous electronic music by a master innovator of algorithmic composition. But this album possesses a unique and illustrious lineage that, despite the clear difference in style and genre, connects it to one of the most famous works in the rock music repertoire - the ideas behind METHOD MUSIC are both the outgrowth and the foundation of the legendary LIFEHOUSE project by Pete Townshend, the conceptualize and co-producer of the album, and presents a theoretical system of musical portraiture in which a listener's personal data is translated into a unique composition.

PARMA Recordings presents Legends & Light, a compilation album featuring works by composers Hans Bakker, Jan Järvlepp, Clive Muncaster, and Shirley Mier. Each has a different, unique story to tell, and the narratives are brought to life by the orchestra and string ensemble. Hans Bakker showcases his ‘Canzona III: Hidden in Her Light’ in ternary form. Described by the composer as a “hymn to the sun,” this tone poem is reminiscent of the symphonic storytellings of such greats as Tchaikovsky and Rimsky-Korsakov — with a heritage of folk melodies and rhythms to boot. The extraordinary balance between strings, woodwinds, brass, and percussion is expressed so fluidly, yet individually, the listener is immediately enveloped into the epic saga Bakker is telling. Jan Järvlepp expresses his unique composition style in Suite for Strings. In this incredible pedagogical work, Järvlepp brings the listener through a gamut of emotions. Clive Muncaster’s Redcliffe Gardens Suite for Strings follows suit perfectly with a romantic “Petronella,” enormously expressive in every way. “Pastorella” takes it down a notch, toeing the line between major and minor, somewhat demonstrating the complexity of romantic love. But, obviously, love wins. “Stella” is the heroic ballad to profess it. “Fuga Romantica” layers the sweetness together using one of composition’s most complex forms. Shirley Mier’s Of Lakes and Legends, a programmatic work written for the Century Chamber Orchestra, closes the album. Each movement is set at White Bear Lake in Minnesota, the city where the Century College and the ensemble are located. This celebration of music is tinged with nostalgia, as it both recalls these concerts and reflects on the fact that they now exist only in time past. This, hands down, is contemporary composition at its best. This album has been perfectly curated to offer continuity in the listening experience. PARMA patrons, old and new, will find enormous satisfaction in this collection.

To acclaimed pianist Christopher O'Riley, experimentation and eclecticism are second nature. Known for his sensitive piano arrangements of alternative music, he returns with LOTUSLAND: a riveting collection of popular hits, imbued with classical profundity and romantic pianism. The selection is highly diverse. To name but a few, O'Riley rubs shoulders with John Coltrane, Erik Satie, Joni Mitchell, Duke Ellington, and even Radiohead - the latter being a particular favorite of the pianist, who made a name for himself with classical arrangements of the band's hits some 20 years ago. It's important to note that O'Riley's music transcends mere homage; rather, he effortlessly infuses the material with late Romantic grandeur and brilliance. O'Riley has taste, and the listener benefits: this is enrichment of the material, in the truest sense.

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.

On Hymnus, the world renowned Jitro Czech Girls Choir under the direction of Jiri Skopal once again delivers refined, dazzling interpretations of the music that is so much a part of Czech culture. The album, which is the Choir's third release on Navona Records, includes 24 selections that range from Moravian and Silesian folk songs on which the Choir interprets the subtle call and response between bucolic lovers, to a series of compositions inspired by Latin proverbs on which intricate, multidimensional vocals underscore the significance of a simple word or phrase. While the album's tracks are assembled under specific groupings - Silesian Yodel Songs, The Replies of Silesian Songs, Moravian Folk Songs, and Proverbia - this merely delineates the source material. The unifying impact of the Choir's exquisitely crafted vocals elevates this album far above what might otherwise be an ethnomusicological exercise. For the most part, the choir performs without any instrumental accompaniment, save for several Moravian folk songs, on which a solo piano provides an additional layer of intricacy, and for the album's closing track, Hymnus. Combining the stirring instrumentation of kettledrum and organ with the Choir's uplifting vocals, Hymnus translates the positive, humanistic vision of John Amos Comenius, the 17th century educator, philosopher and theologian, into what serves as a superb melodious conclusion of this impressive recording. The Jitro Czech Girls Choir is a complex institution with a membership of around 350 young singers ranging between five and 19 years of age. Since being founded 35 years ago, the Choir has been lauded internationally for it's tonal brilliance, superb intonation, and distinctive rich blend of sound and energetic vitality. It is considered as one of the best children's choirs anywhere in the world, receiving multiple awards and medals.

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.

Piano visionary Sandrine Erdely-Sayo pays a dignified tribute to Maestro Franz Liszt in MAJESTIC LISZT, an intimate recording of some of his finest works. Having a deep respect and admiration since childhood, Erdely-Sayo pours every ounce of her being into capturing the contemplative and song-like quality that pervades Liszt's middle-to-late repertoire. A rich and elegant session, it's impossible not to be enraptured by her sensitive and languishing treatment in Consolations, nor her delicate attention to poetics in the melody lines of Standchen and Romance in E Minor. Erdely-Sayo shines in the beloved Liebestraume, delivering an electrifying interpretation while still maintaining a dream-like musicality at it's core. MAJESTIC LISZT is a perfect introduction to the Maestro's oeuvre, catering to both devoted Liszt enthusiasts and those just starting to explore his music.

Their fourth release with Navona Records, OPENINGS by the Jitro Czech Girls Choir and conductor Jirí Skopal presents the rich beauty of the Czech Republic’s national dances, folk texts, and songs for audiences around the world. Composer Bohuslav Martinu believed that music holds the power to open our minds to a new, transcendent understanding of time, nature, and tradition. The first piece on OPENINGS, Primrose does so with buoyant joy. The bright, airy timbre of the children’s choir is radiant, with lyrics that conjure up pastoral images of the beautiful Czech countryside. From the Czech word “petrklíc,” Primrose symbolizes Saint Peter’s key which opens the earth each spring as the ice and snow of winter recede. Next comes Songs for a Children’s Choir, composed by Martinu in Switzerland during 1959—the last year of his life. The piece borrows texts from collections of Czech folk songs and poetry, employing the tight, sculpted harmonies of Jitro. The album’s final track, Opening of Spring, relates the story of a springtime queen, laden with flowers, followed through the country hills by a procession of townspeople. OPENINGS is an apt title for this newest album by the Jitro Czech Girls Choir, not only because of its focus on spring and renewal, but also because it offers a portal through which listeners of all backgrounds may appreciate and enjoy the beauty of Czech culture. With technical precision and infectious exuberance, the girls of Jitro lovingly offer the songs and stories of their people to all who listen.

THE RIVER OF TIME, Navona Records' latest release, is a captivating tour de force by conductor Mike Fansler and the Western Illinois University Wind Ensemble. Recorded by legendary engineer Bruce Leek - whose recording portfolio includes the President's Own Marine Band - this album captures the full emotive intensity of one of America's finest collegiate ensembles. The album begins with composer David Maslanka's O Earth O Stars - Music for Flute, Cello & Wind Ensemble. The first movement, "Chorale," opens like the canopy of the night sky before us, as it takes it's melody from J. S. Bach's reverent "Jesu, meine Freude," or "Jesus my joy." As the album progresses, Fansler adeptly pilots his musicians through tight dynamic shifts, breathtaking melodic modulations, and razor-sharp releases. "Dragons and Devils of the Heart," the fourth movement, is a raucous and enthralling adventure; the music soars and dives with cinematic grandeur. O Earth O Stars ends with another chorale, providing a majestic and passionate conclusion to the first work. Following the concerto comes Maslanka's Symphony No. 10, The River of Time. "Alison," the first movement, is soft and contemplative with bursts of brash defiance. The gentleness of the horns is suddenly wracked by a veritable tempest, and we imagine Fansler reaching an imploring hand from the conductor's podium toward his musicians. The ensuing movements never let the listener grow complacent; evocative solos are interrupted by towering crescendos and fluttering scalar runs. The final movement "One Breath in Peace," begins tenderly before transcending into song. The symphony concludes in the same way each morning began in composer David Maslanka's studio; one male voice, gently floating atop the melody of the piano playing a Bach Chorale. THE RIVER OF TIME is both a profound musical accomplishment and an inviting work suitable for music lovers of every age. Fansler's commitment to excellence is revealed in his ensemble's performance; marked by careful attention to detail and impeccable execution, THE RIVER OF TIME will no doubt echo through speakers and headphones for ages to come.

It is tempting to compare Matej Me�trovic's compositional style to his great predecessors in the late-Romantic tradition. After all, much of the Croatian composer's style and techniques would be right at home in Rachmaninoff's concertos, Tchaikovsky's works, or Prokofiev's neoclassicism; and the name of the album's first work, Danube Rhapsody, naturally evokes associations with Smetana's similarly river-themed Vltava. Add to all of this that Me�trovic, like most of his great musical ancestors, is a talented virtuoso pianist, and it's easy to see why 3 Rhapsodies is bound to meet with enthusiasm. Of course, a skillful composer like Me�trovic doesn't confine himself to mere epigonism. And indeed, there is an original voice which constantly rises out from tradition. This is partially achieved through Me�trovic's clever instrumentation: the Danube Rhapsody's scoring includes, among others, a cimbalom and a tamburitza (the Croatian long-necked lute), which immediately tells the listener that he or she is hearing the Balkans, not Russia or Czechia. Similarly, the Chinese Rhapsody employs traditional Chinese instruments such as the pipa, erhu, and zheng, gorgeously contrasting them against the tremolo strings of the Zagreb Philharmonic Orchestra. American East Coast natives will find themselves swept back home in Me�trovic's New England Rhapsody, a composition initially as comforting and sentimentally heart-warming as the Transatlantic accent in a 1940's film. It's a deceptive respite, however: the final movement, interspersed with jazzy rhythmic elements and Me�trovic's resurfacing Croatian voice, takes the listener right back to the exalting ardor of the album's beginning. Instead of fizzling out like lesser compositions might, it finishes with a bang. There is no way around it: 3 Rhapsodies is a triumph. It is not at all unlikely that future generations, when asked to name the first famous Croatian composer that comes to mind, will exclaim with conviction: "Me�trovic, of course!"

MUSICAL IMAGES FOR PIANO: REFLECTIONS AND RECOLLECTIONS VOL. 3 is the latest continuation of composer Mark John McEncroe's REFLECTIONS AND RECOLLECTIONS series with Navona Records. Many of the pieces featured on this album are reductions of McEncroe's orchestral works, granting the listener fascinating insight into the mind of the composer. As devotees of McEncroe and his music will likely already know, he is a retired chef, and brings many of the aptitudes of that vocation into his work as a composer. In Volume 3, McEncroe presents the raw ingredients used to concoct some of his greatest orchestral pieces-this time, in their most raw, unmitigated forms. Movements In The Night and Echoes From A Haunted Past, for example, were both previously released on McEncroe's 2018 orchestral release, MY SYMPHONIC POEMS. Somehow, these pieces retain their towering grandeur despite now being performed on solo piano. As is so often the case with recordings of this caliber, the dynamic arrangements and superlative performances on all of the pieces on this album create cavernous spaces which free the listener's mind to hear the music beyond the piano itself. This album also features a movement from Natalie's Suite, a three-movement work for piano and orchestra originally performed by the Jan�cek Philharmonic for McEncroe's DARK CLOUDS IN LIFE. The music portrays the relationship between McEncroe and his daughter, Natalie. "Moving to the Light" is at once tumultuous and hopeful, a striking and beautiful representation of the complexities of the human experience. Performed by pianist Van-Anh Nguyen, REFLECTIONS AND RECOLLECTIONS VOL. 3 captures in high fidelity the stark power of McEncroe's compositions in their most naked, unadulterated forms.

Warshauer’s music is shot through with and inspired by mystical and spiritual matters that span a love and respect for Mother Earth and the Jewish faith.

A native of Wilmington, North Carolina, Meira Warshauer now lives in Columbia, South Carolina. She studied with William Thomas McKinley, Gordon Goodwin, Mario Davidovsky and Jacob Druckman.
 
This is not the first disc exclusively dedicated to her music. Streams in the Desert was an all-Warshauer CD of music for orchestra and chorus inspired by the Torah which appeared on the Albany label in 2007. There have been others.
 
Symphony No. 1 Living Breathing Earth is in four movements the first of which seethes with modernistic chaffing cicada noises and the rumbles of the jungle; the latter evocative of Villa-Lobos. By contrast the following movement (Tahuayo River at Night) has a great pervasive melodic calm. It’s a little like Mahler’s Adagietto meets Delius in a gentle drift downriver. The third movement has a chattering interplay of strings with butterflies and birds soaring above: Ravel’s Mère l’Oye blended with Villa-Lobos. The finale returns to a rangy melody but interpolates a gentle breathing pattern carried by the violins. Trumpets piercingly italicise the dramaturgy of the melody and drive the poignant message home amid flickers of wispy birdsong. The work serves as celebration and warning: a prayer for wisdom to heal our planet. The dedication is to the living breathing earth and her Creator.
 
We are told that Tekeeyah is the first concerto ever written for shofar and orchestra; anyone know of any others?. Never less than sincerely ambitious this is Warshauer’s “call for an awakening to our true essence as human beings.” The shofar (which you may recall being used abstemiously in Elgar’s The Apostles) is the horn of a ram or other kosher animal. It is a call to humanity to rouse itself from “the slumber of complacency” and in this three movement work the music is also bound up in Jewish religious references. Here the soloist, with whom Warshauer collaborated during the writing process, plays the horn of an African antelope.
 
Tekeeyah has a similar stylistic glossary to that of the Symphony. Gentle consonant strings sigh in a starry glimmer amid impressionistically gauzy writing: part Messiaen and part Ravel. There are Delian harp scintillations, around the rolling growl and bray of the shofar. There’s a real bite to the solo writing in Breaking Walls (II). It’s very animated yet a soft glow is never far away. The finale sports a slipping-sighing sentimental melody. A touch here of RVW. Had he lived long enough not only might he have given us the Saxophone Concerto he seemed to promise but also a concerto for shofar. It’s almost odd that neither Hindemith nor Hovhaness were moved in that direction. In any event in this concluding movement we encounter a Milhaud-like chugging rumba: very positive and happy. The shofar brays in majesty at the end and the strings rise high with solo and string mass echoing each other in exalting pain. The trumpets again italicise the splendour.
 
The present Navona disc presents two recentish substantial works though not of epic duration. Warshauer’s music is shot through with and inspired by mystical and spiritual matters that span a love and respect for Mother Earth and the Jewish faith.
 

-- Rob Barnett, MusicWeb International

On his latest release on Navona Records, WISDOM-LOVE-ETERNITY, composer Michael G. Cunningham presents a collection of his choral works, performed by the K�hn Choir of Prague conducted by Marek Vorl�cek, which explore the spiritual element of the human condition, addressing the uncertainty of death, the inexpressible emotion of love, and humans' search for an understanding of God. Poetry plays a significant role in many of the works in the album. Poetry from Henry Wadsworth Longfellow, Shakespeare, C. P. Cranch, Francesco Petrarch, Robert Herrick, Robert Burns, P. B. Shelley, and others is introduced, inspiring contemplative, dramatic, and elaborate vocal harmonies, instrumental accompaniment, and musical imagery. Some of Cunningham's more austere writing is found in his setting of text from the Christian liturgy in works such as Come, Holy Spirit (1975) and The West Wind (1961). Audiophile Audition praises Michael G. Cunningham as "a gifted and interesting composer" Cunningham has written over 200 compositions, spanning virtually every medium. He is a respected educator and author, with more than ten books published focusing on the subjects of composition and music theory His works have been performed in Europe, Japan, Australia, and throughout the United States Cunningham's other albums - PARAGONIA, SONIC FLIGHT, GALLERY, and COLONNADE - are available through Navona Records His works are featured on the Navona compilations VOICES OF EARTH & AIR, QUADRANTS, and CONTINUUM

On his seventh release on Navona Records, THE ADVENTURES OF FLORIAN, Michael J. Evans presents an epic, modern adaptation of Henry Beston’s fairytale of the same name. Over the course of four orchestral acts, Evans reframes the story as a tale of trans heroship, with Prince Florizel marrying Florian himself presenting as a boy, rather than revealing Florian as Isabella. Beautifully accessible and poignantly educational, THE ADVENTURES OF FLORIAN brings LGBT characters into the spotlight to improve their representation and educate audiences on the difference between sexual orientation and gender identity. Over the course of the tale, Florian and Florizel display true love for each other and come together as one. Evans enhances the piece’s narrative drive with dedicated instrumentation for each character. The oboe represents Isabella until her transition into Florian, at which point he is musically defined by the soprano sax. The powerful Enchanter is heard as a bass trombone, which contrasts with the english horn and shrieking clarinets which represent the Old Witch and her daughter. Finally, Prince Florizel is heard as a trumpet. Evans continues to show his compositional and thematic prowess through his use of themes for Florian and Florizel. Their respective themes are complete and can stand on their own, but when they come together they form a beautiful duet that represents their healthy, loving relationship. Accompanying the music and fairytale are more than a hundred full illustrations by Appoline Etienne, which depict the story and its joyous ending. The colorful, dreamlike imagery perfectly captures the uplifting theme, and helps make the album’s message understandable for all ages.

Missa Charles Darwin will be released as a special edition deluxe package on PARMA Recordings/Navona Records. It will include an all-new remastering of Missa Charles Darwin as well as liner notes, biographies, and excerpts from the Darwin texts featured in the music. A select number of the deluxe packages include a limited edition photograph hand signed by the composer and author. All of Gregory's proceeds from this release are being donated to musical education charities including Chorus America, American Choral Directors Association, and the International Society for Music Education. Vocal music with texts from Charles Darwin Performed by New York Polyphony

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.

MOZART SONATAS is the moving final collaboration between Pianist Christina Petrowska Quilico and violinist Jacques Israelievitch. Battling late stage cancer, Israelievitch rallied his strength to finish this complete recording of Mozart's piano and violin sonatas just months before passing away. The album shows how Mozart's compositional style developed; his early sonatas favor the piano, but the violin gradually grows in importance as we reach the later sonatas. This ambitious five-volume collection includes noted violin-piano sonatas like the Palatine Sonatas and the Auernhammer Set. These masterful performances are a proud final entry in Israelievitch's recorded catalog and stand as a powerful testament to the human spirit.

Composer, pianist, teacher, poet, and writer, Robert Nathaniel Dett (1882-1943) is regarded as one of the most important musicians in American history, lauded in his lifetime as the first American composer to fuse African American folk idioms with the European art music tradition in a sophisticated way. On his debut album on Navona Records, MY CUP RUNNETH OVER, pianist Clipper Erickson presents the first complete collection of Dett’s piano works, a milestone for American music discography.

From the first time Dett heard Antonín Dvo?ák’s works performed at Oberlin College, he strived to incorporate African American folk music themes in the highest forms of musical art. The piano suites embrace almost all of the composer’s creative life, from Magnolia, written soon after his graduation from Oberlin, to the Eight Bible Vignettes, written during the last two years of his life. They show a great development, variety and richness of style, and his lyrical gift; truly reflecting his struggles, triumphs, and deepening philosophical interests. Erickson’s performances on this album deliver some of the most significant music of early 20th-century America to the world, reminding us of the prominent role of African American spirituals and folk music in contemporary American art, culture, and philosophy.

-----

Review:

It’s surprising that no one until Clipper Erickson has essayed Dett’s complete piano output on disc. However, the wait was worth it, for this music is simply wonderful, while Erickson’s idiomatic, colorful, technically adroit, and caring interpretations do the repertoire full justice. The music’s consistent creativity always holds interest. This historically and musically important release not only fills a crucial catalog gap but sets reference standards. No serious aficionado of the history of American piano music can afford to miss it.

– Gramophone (Jed Distler)

On LORD, HOW COME ME HERE?, composer Shawn Okpebholo turns the mirror of history on today’s society with a reimagined collection of spirituals by enslaved Africans and American folk hymns that draws upon music from the past to critique contemporary racial injustices in the United States and around the globe. An ensemble of mezzo-soprano, baritone, piano, cello, and flute poignantly bring Okpebholo’s music to life, from hopeful anthems celebrating community to laments between a mother and her Creator and hymns celebrating faith and hope over hate and fear.

REVIEWS:

As a collection of Negro spirituals and American folk hymns recast as contemporary art songs, Lord, How Come Me Here? is a natural sequel to Shawn E. Okpebholo's 2014 set of reimagined spirituals, Steal Away...Many of the spirituals and hymns are familiar yet are strikingly reborn in these arrangements.

Shifting gears, Bridges pairs with Altino for the heartbreaking lament “Lord, How Come Me Here?,” the cellist less supporting presence and more duet partner; as captivating as the singer's performance is, she's equaled by the passion of his playing. Countering the despair permeating the lament, the album's spiritual and folk hymn sides come together in the medley essayed with conviction by Liverman and Sánchez, “I've Never Felt Such Love / What Wondrous Love is This.” Meanwhile, Bridges captures the yearning of “Oh, Glory” with a transporting, gospel-tinged vocal, her impact all the greater for the restraint Sánchez shows in his accompaniment. “Swing Low, Sweet Chariot” stands out from the others for adding Thomason-Redus's flute to the Liverman-Sánchez pairing and for the jazzy swing treatment given the spiritual.

Throughout the recording, the material wears its art song garb comfortably, but emotional expression is no less pronounced in the updates as it is in the songs as originally presented. Okpebholo benefits immeasurably in having vocalists of the calibre of Bridges and Liverman with him, and the performances by the instrumentalists are as strong. None of that should overshadow, however, the fact that Lord, How Come Me Here? came into being through Okpebholo's efforts and crystallizes his thematic vision into song.

-- Textura

With Parallel Worlds, Czech composer Jan Jirasek provides a portal into his intricately textured and resonant choral music. These works are enhanced by Czech children's choir Jitro, whose singers imbibe Jirasek's delicate and earnest compositions with authority, maturity, and captivating grace. A varied collection of Jirasek's sacred and secular choral music, Parallel Worlds reveals the composer's affinity for non-traditional sounds, as well as vocal forms rooted in Renaissance and Medieval traditions. These subtle, period-based influences are most evident in the nuances of compositions such as works like Missa Propria that evoke the voice-leading techniques of Italian Renaissance composer Carlo Gesualdo. Most obvious of these subtleties is Jirasek's contrast of polyphony and monophony in Missa Propria and Si, Vis, Amari, Ama, which use chant-like melodies scored for the entire choir. These moments strongly recall the structural role of Gregorian chant in Medieval, Renaissance, and even later musical settings of the mass text. King Lavra presents a subtler allusion to earlier eras of choral music, as its dramatic scoring recalls teh Medieval genre of the liturgical drama. This composition is also one of several works on this album to feature atypical sounds, including percussive vocal sounds ranging from spoken text to individual isolated consonants. Jirasek's use of a pair of scissors as a percussion instrument on King Lavra is a brilliant and wholly unpredictable reinterpretation of a mundane object, and the clear, precise attack of the swiftly closing scissors works impressively well with the piano and vocal forces. Throughout Parallel Worlds, Jirasek's creations are vibrant and profound, often suggesting the choir's singing is filling an enormous venue. The composer constantly plays with layering fixed materials, and he often manipulates the density of these musical strata to pull the listener through his intricate compositional mazes.

On Parts to Play, critically acclaimed violinist Moonkyung Lee turns from the symphonic environment of the critically lauded label debut, Tchaikovsky, on which she performed with the London Symphony Orchestra, to a more intimate setting, with only pianist Martha Locker as her partner on a selection of works that include both stunning solo performances and intricate yet simple duets. Choosing to include Prokofiev’s “Sonata for Solo Violin” amid compositions from six contemporary composers who collectively represent three decades of works is indicative of Lee’s ability to tease out the subtle nuances of every piece she performs. The three-movement suite moves from the simplicity of Moderato’s Classical sonata format through the more lyrically, introverted Andante Dolce to the clever finale, Con Brio. Similarly, her transit through Benjamin Ellin’s composition for solo violin, “Three States at Play,” is a nuanced journey through three movements, in which the more serene second movement is bookended by two outer movements that are quite rhythmically active. When performing duets with Locker, such as on Rain Worthington’s “Jilted Tango,” Lee’s violin seamlessly integrates with the piano to create an atmosphere both spirited and poignant, capturing the “push and pull in a dance of love” implied by its title. Another sort of dance entirely is captured on the duo’s performance of the vibrant and upbeat “Grand Tartanella.” Moonkyung Lee’s career includes numerous accolades, awards and scholarships including the Yale Chamber Music Celebration, and an NYU/Steinhardt Doctoral Fellowship for Doctoral Studies, of which she was the first ever classical string performer recipient. Her extensive array of performances, both in Europe in the US, include collaborations with many eminent ensembles, conductors and performers.

PEDACITO DE TIERRA is a deeply personal work led by GRAMMY-nominated saxophonist Jose Antonio Zayas Caban, rooted in his vision to honor the stories of the Puerto Rican diaspora in the Twin Cities. While grounded in local voices, the piece resonates far beyond Minnesota - speaking to the experiences of Puerto Ricans across the United States and echoing themes shared by immigrant communities everywhere: displacement and belonging, memory and identity, longing and resilience. Composed by Angelica Negron and performed by Zayas Caban alongside saxophonist Ryan Smith and pianist Casey Rafn, the work layers oral histories, electronics, and chamber instrumentation to explore the complexity of cultural identity. Shaped by the voices of Puerto Rican storytellers, PEDACITO DE TIERRA reflects Jose's commitment to lifting up community narratives through music that is as nuanced and resilient as the people it represents.

Composed almost entirely in 2018 and performed by composer Giovanni Piacentini, the music on Between Worlds serves as a brand-new snapshot of a musician's prowess at the height of his creative capabilities. In an age where the musician-composer is a dying breed in the realm of so-called "serious" music, Piacentini brings a breath of fresh air in a multitude of ways. There is no doubt that his astounding technical skill as a guitarist deeply informs his compositions, and the effect is nothing short of breathtaking. Strikingly, even when employing modern elements - such as adding electronics - Piacentini resolutely resists the temptation of putting trendy, cheap showmanship over the soul of the music. The guitar, the mainspring of musical expression, remains paramount and prominent, always. And, thanks to the composer's talent for lyricism, structure, and depth, this pays off. Immensely. Piacentini's private taste in music is, for lack of a better word, virtually all-encompassing. It comes as no surprise that as a direct result, his own music refuses and refutes strict categorization. The listener might hear reminiscences of Classical-era and Romantic guitar music by Mertz or Sor in one track, and post-2000's indie rock sound the next. That said, all pieces are united by an inherent voice which immediately marks them as works by Piacentini. They range in mood from melancholy to upbeat, from truculent to soothing, but the style itself is perpetually distinct and memorable. Between Worlds is an album that simply makes sense. It is a treasure trove for the musically- trained ear, yet uncompromisingly clear and aesthetic, thus able to appeal equally to casual listeners. Piacentini's impressive command of the guitar indubitably plays a large part, but what's even more stunning is his compositional craftsmanship. One need not recommend repeated listening with this album - this music is so attractive that a listener will likely feel compelled to engage in it again and again without prompt.

Internationally-renowned Serbian-Austrian classical accordionist Jovica Ivanovic has released his newest album — PIAZZOLLA & GALLIANO — with Navona Records. The program features concertos from Astor Piazzolla and Richard Galliano, both legends in their own rights. Recorded with the Ukrainian Chamber Orchestra, Ivanovic’s performances bring these masterworks to life with persuasive passion. PIAZZOLLA & GALLIANO is the result of Ivanovic's partnership with violinist Valeriy Sokolov. With Ivanovic's capable hands on the accordion, Sokolov as concertmaster and Protasov as conductor of the chamber orchestra, the three set out to recreate the music of these two much revered composers. The album opens with Piazzolla's Aconcagua, a concerto for bandoneon, string orchestra, and percussion. The music bursts forth from the outset, full of the tantalizing excitement of Argentinian tango. Ivanovic’s sensitive-yet-fiery style immediately sets him apart; the soloist glides effortlessly above the orchestra, lending a rich voice to the melody. It is not lost on Ivanovic that Piazzolla himself especially loved this piece, playing the bandoneon himself at performances in the 1980s. Ivanovic treats Aconcagua with the same loving care as its composer did. And, now, thanks to state-of-the-art recording technology, we hear each note with sublime clarity. Galliano’s Opale Concerto is a mix of Balkan, nostalgic Parisian, and American influences. From the outset, Opale is a pulse-quickening adventure; Ivanovic reveals the depths of his classical training by making every fiery note sound rounded and deliberate. As with Aconcagua, Ivanovic’s performance of this piece makes clear that it is particularly dear to his own heart. The music of PIAZZOLLA & GALLIANO is perennially contemporary and exciting. Bridging cultures and generations, it speaks deeply to the human heart. Ivanovic’s virtuosic performances are supple and thoughtful.

Violist Jutta Puchhammer's album Pieces de concours pour is a treasure trove of late romantic French viola music. Originating as exam compositions for students enrolled at the Conservatoire Superieur de Paris from 1896-1938, this album demonstrates Puchhammer's peerless virtuosity as a performer, as well as the expressive range of her instrument, which was largely dismissed by the mainstream of eighteenth and nineteenth century composers. Many of the compositions on Pieces de concours pour share the Classical form of Sitt's concerto, such as Henri Marteau's Chaconne in ut majeur, or the French romantic aesthetic of Busser's Appassionato, such as Paul Rougnon's Concertino Romantique. Romanian-born composer Stan Golestan's Arioso et Allegro marks an interesting departure from these other works, as it reflects the new aesthetics of the twentieth century. Arioso et Allegro is dominated by pentatonic scales, which may suggest the influence of indigenous Asian musics - as they do in Debussy's piano piece Pagodes - Eastern European folk music, or American jazz, which took France by storm in the 1920s and 30s.