Japanese-Canadian pianist Yoko Hirota stuns with impeccable pianism on SMALL IS BEAUTIFUL: MINIATURE PIANO PIECES. Originally recorded in 2009, this remastered edition brings out the intricacies of 20th- and 21st-century piano composition with a clarity that was previously unheard of. The first half of the album's track list reads like an exhaustive compendium of 1900's compositional celebrities: Schoenberg, Krenek, Ligeti, Berio. It's a brainy choice: the tracks on SMALL IS BEAUTIFUL aren't ordered by length, as one might intuit, but instead in geographical and roughly chronological order. Vienna's modernists may have laid the foundation, but North America's modernists took serial and atonal composition to the next level. And so, to do the matter justice, there is a splendidly representative selection of Elliott Carter’s oeuvre, along with pieces by Canadian composers - John Beckwith. Despite the immense differences in cultural background and era – the selection spans almost a century, after all – they are all united by one distinguishing feature: They are short pieces, with lengths between 31 seconds and six-and-a-half minutes. Yoko Hirota, who holds a doctoral degree in piano performance and currently teaches the piano at the Music Department of Laurentian University in Ontario, Canada, plays all of these pieces with academic precision, regardless of their respective geographical or temporal provenance. A recording veteran with six previous contemporary albums under her belt, her grasp of the modernist zeitgeist is not only palpable, but extraordinary. And it shows: there is a subtle lyricism even where traditional harmonies clash, a sensitivity not just for the musical language of the era, but for the greater principles that underpin them. SMALL IS BEAUTIFUL doesn't just serve as an index of contemporary piano composition and its roots, it's a worthwhile addition to a modernist record collection on merit of Hirota's powerful interpretation alone.

The Crossing has partnered with composer Kile Smith on several uniquely idiomatic works, spanning nearly a decade. But Navona Records’ THE ARC IN THE SKY, Smith’s 2018 setting of journal entries and poems of Robert Lax, is epic - an hour-long tour de force of thought and feeling that traverses topics ranging from Louis Armstrong to Jack Kerouac, and from Jerusalem to the shores of the island of Patmos. The enigmatic Robert Lax presents a fascinating aggregate of paradoxes: friend to Thomas Merton and the Beat poets; urbane yet reclusive; at times whimsical, at others blissful. Smith’s music for unaccompanied choir meets these words fearlessly, building great waves of majestic sound next to fragile threads of contemplation, with a broad spectrum of musical and poetic influences based on Lax’s varied interests and life experiences. The work begins with the ecstasy of Jazz – to Lax, a metaphor for life – born of his early days in New York City; the extraordinary close to the third movement is like a revival meeting. The middle section, Praise, subtly calibrates between the panoramic temple and the little things. The final section, Arc, reflects the culminations of Lax’s personal and poetic voyage: a mixture of calm observation and awe, captured by Smith in simple, overlapping canons and broad, double-choir brush strokes of sound with rich harmonies building to an unparalleled climax. THE ARC IN THE SKY is a formidable example of the heights which artistic expression can reach when its individual elements – that is, creative spirits from multiple spheres – work together in harmony. It is a pleasure to behold, and, as sung by two-time Grammy-winning choir The Crossing, an even greater pleasure to listen to.

The essence of Tonci Huljic’s music is eclecticism, his Western melodic style fused with the rich instrumentalism of the Mediterranean and the world resulting in a completely new spirit. This MEDITERRANEAN POP MASS, recorded in Split, Croatia, thoughtfully blends traditional orchestral and modern sounds in exciting ways, infusing iconic classical works with groove, reignited passion, and an appreciation of the conventions of today’s musical idioms. Featuring an orchestra, choir, modern rhythm section, and soloists Hana Huljic, Lorena Bucan, Karlo Vudric, Huljic conjures an atmosphere like no other in his compositions, a satisfying listening experience for anyone who appreciates where music has been, and where it is going.

Pondering the Baroque violin repertoire, one would be forgiven to think of Johann Sebastian Bach’s works and little else. Acclaimed English violinist Thomas Bowes courageously sets out to change this preconceived notion with TELEMANN FANTASIAS, a rare and remarkable full performance of all of Georg Philipp Telemann’s solo violin fantasias. Telemann is to violinists what Mozart is to keyboard players: deceptively simple on paper, notoriously difficult to master in actuality. Bowes, never a stranger to a challenging repertoire, expertly articulates the cheer, spirit, and zest of these pieces with a strikingly light-hearted panache, as if it could be no different. Indeed, upon listening to this rendition, it is easy to imagine a future in which public performances of Bach’s pious partitas are habitually rounded off by Telemann’s buoyant secular fantasias. For Bowes, this future is now.

In collaboration with educator and physicist Dr. Robert Davies, the Fry Street Quartet two composers, Libby Larsen and Laura Kaminsky, to create musical landscapes which speak to the crisis of an imminently unsustainable human world and move the listener toward a meaningful response. Kaminsky’s CROSSROADS | Rising Tide unfolds in a series of four vignettes, titled H20, Bios, Forage, and Societas, together forming a meditative space for audiences to explore connections between the human world we’ve created and the natural world we inhabit. Weaving together a chorus of artistic and scientific voices responding to one of society’s greatest challenges, the work of the quartet, Dr. Davies, Kaminsky, and Larsen presents a deep, profound contemplation of the choices before us, the paths they forge, and the dramatically different landscapes to which they lead.

Navona Records is proud to announce the re-release of David Tanner's 1988 album The Eloquent Saxophone. Tanner is no Stranger to Navona; his compositions and arrangements can be heard on two other Navona releases: Of Birds and Lemons (2012) and Dashing (2016). This was his first album, featuring him as a performer. It includes two unaccompanied pieces and two sax quartets recorded by multi-tracking, as well as a rich variety of works with accompaniment admirably rendered by pianist Marc Widner. The music ranges from Schumann to a stylized blues by Gene DiNovi. Tanner's musical language is enriched by classical training and a career encompassing rock'n'roll and jazz as well as symphony. Reviewer Denis Armstrong wrote in Music Magazine, "Not long into this recording, one begins to marvel at the sheer joy David Tanner's playing conveys... a dense and rich recording... at times elegant and elegiac, other times ribald and visceral. But the one constant is the joy and clarity of expression." The first track sets the tone: "Serenade comique" is a brief, frantic sax quartet composition that evokes Parisian traffic or perhaps a flock of birds. "La Blues," the other quartet selection, evokes the melancholy of New York in the depth of night. "It is a treat for the listener to hear this feat of multi-tracking done so well," said reviewer Joseph Viola in Saxophone Journal. Each track is in contrast to the one before it; each represents something different and interesting. To quote Music Magazine again, "The Eloquent Saxophone [is] a thoroughly eccentric, invigorating and generous treat."

American composer Marty Regan specializes in composing music for traditional Japanese instruments, a fascination he has developed since 2000. Regan describes his Japanese-style compositions as "hybrid musical soundscapes that reflect the age in which we live, an era based not necessarily on globalization, but of partnership based on global cultural interaction." In contrast, Splash of Indigo features a complementary side of Regan's output, containing only works for Western orchestral instruments and voice. Despite the album's instrumentation, Regan's connection to Japan remains strong in Splash of Indigo. Splash of Indigo proves Regan is more than capable of inventing and developing charming and complex networks of musical ideas. In it's varied collection of chamber and large ensemble works, Splash of Indigo shows Marty Regan is a composer of considerable breadth and skill beyond his dedicated efforts to build a bridge between American and Japanese musical culture.

Though there are thousands of languages and countless political differences across the world, people tend to come together through equally endless forms of music and dance. On THE SUITE, the Lowell Chamber Orchestra, under the direction of Orlando Cela, focuses the lens on the Baroque dance suite as a method of expression that’s ripe for international flavor, artistic individualism, and human storytelling. Suites by Georg Philipp Telemann and Johann Sebastian Bach examine the gallant style’s history and set the groundwork for modern interpretations. The Baroque vanguards pass the torch on to two contemporary composers, Anthony R. Green and Jose Elizondo, who shape and mold the style to match their own compositional artistry as they paint musical pictures of civil rights activism, heart-warming moments in the sun, and the passing of time. What results is an alchemical combination of the old and the new that not only celebrates the original Baroque form, but expands upon it with contemporary, cross-cultural flair.

Composer Richard Thompson’s three-act opera presents the life behind the name of Paul Laurence Dunbar, one of the most prominent African American poets of the early 20th Century. This dramatic performance, inspired by the hundreds of letters exchanged between Dunbar and his wife, Alice Ruth Moore, removes the masks of fame and social identity to investigate the psychological realities of the people underneath. Driven by pivotal moments in the poet’s life, the chamber opera follows the arc of Paul and Alice’s relationship, from their courtship through letters, secret engagement and marriage, to their final estrangement and Paul’s death from alcoholism and tuberculosis at age 33. Throughout these moments, the audience gets a look behind the known storyline into the psychological challenges occurring beneath the surface for both Paul and Alice. Both characters grappled with the fact that they came from troubled relational backgrounds filled with abuse and apathy — much of which was translated into their own marriage. In addition, both struggled with their racial identity in a culture that generally judged and discriminated before it sought to understand. The dramatic tension of their personal relationship and story, fused with the broader questions surrounding identity, appearance versus reality, and grappling with the person in the mirror, makes this a moving story on the operatic stage. Captivating, challenging, and compelling, The Mask In The Mirror is a necessary look into fame and identity as seen through this hero of African American poetry.

Society of Composers, Inc. presents 10 works from boundary-defying composers on TRANSITION AND APOTHEOSIS, the 35th installment of their celebrated Composers’ Series.

"Carnyx" by Chris Arrell employs the carnyx, the ceremonial and battle trumpet used by Iron Age Celts, to conjure the terror of an army encroaching through the morning mist.

Jiyoun Chung’s "Scissors" is a fantasia-toccata for solo piano inspired by the traditional Korean Scissors dance.

"24/7" by Yunfei Li honors the healthcare professionals who served on the frontlines of the COVID-19 pandemic.

"Transition and Apotheosis" from Mike McFerron is a multichannel fixed media piece that maps Danish composer Per Nørgård’s “infinity sequence” to sound elements.

Paul Lombardi’s "Unwoven" incorporates the fractal-like technique used in his past pieces to startling new effects.

Robert McClure’s "struggling in excess" decries the vast amounts of waste humans produce on a daily basis.

"glass, evaporate[d]" from to?-dr?-'ki is a hauntingly beautiful reimagining of 2019’s "lips evaporate".

William Price’s "Sans Titre VII (B)" is a modified variation-rondo that explores the wide range, technical agility, and unique extended techniques offered by the saxophone.

"Der Saus und Braus" by Joseph Klein is the sixteenth in a series of short works for solo instruments based on characters in Elias Canetti’s "Der Ohrenzeuge: Fünfzig Charaktere" (Earwitness: Fifty Characters).

Finally, Ania Vu’s "Tik-Tak" sets the composer’s Polish poem to remind us of the relentless flow of time.

SCI renews its decades-long mission to promote and disseminate contemporary music in this Navona Records release.

For centuries, writers have documented the awe brought about by the pristine wilderness and untamed expanses of the American Midwest and West. Three authors in particularRalph Waldo Emerson, Walt Whitman, and Emily Dickinsonbeautifully documented the boundless optimism and sense of opportunity that the countrys vast natural resources inspired and heralded a new era of American thought. On TRANSPARENT BOUNDARIES, the three visionaries words are set to music to give their poetic works musical life. Soprano Jamie-Rose Guarrine and bass-baritone Seth Keeton deftly lead the charge on a series of artsongs, accompanied by pianists Lara Bolton and Scott Gendel and cellist Karl Knapp. Guarrines vocal elegance and innate lyricism naturally lend themselves to the vivid simplicity and inward reflection of Dickinson, and Keetons lower register captures the direct ruggedness of Whitman. To express the duality of Emerson, the pair come together for a duo to capture the authors ability to view all things at once in a single picture of beauty. By adding to the repertoire of contemporary artsong, TRANSPARENT BOUNDARIES honors the legacy of historic writings and brings their sentiment back to the foreground of American thought, ushering in a newfound sense of hope and optimism for the 21st century.