September 24, 2021 New Releases from Navona and Ravello Records

This New Music Friday, Navona and Ravello Records present the latest in today’s chamber music, fusions of East and West, and solo albums from two Canadian greats.

Dive in and discover new music from: Kong-Yu Wong, Santiago Kodela, Amintas Silva, John A. Carollo, Adnan Marafi, Edmund Cionek, Sarah Wallin Huff, Joseph T. Spaniola, Bruce Crossman, Jan Järvlepp, Sirius Quartet, Arcadian Winds, Jae Cosmos Lee, Christina Petrowska Quilico, and Alan Rinehart.

PINNACLE VOL. 2 highlights the melodic, emotive, and dramatic styles offered by today’s chamber music, exploring the cyclicity of life and nature. Simple melodies rise to complexity and classical idioms combine with pop sounds to unify cultural tradition and modernity.

Australian Bruce Crossman blends East and West in his new release HEAVEN TO EARTH BORDER HOUSE on Navona Records. With his modernist approach to musical construction and style, he effortlessly integrates traditional European, Korean, and Chinese instruments and philosophies into a coherent, enlightening whole.

HIGH VOLTAGE CHAMBER MUSIC from composer Jan Järvlepp, performed by Arcadian Winds and Sirius Quartet with Jae Cosmos Lee, comes as an exhilarating triumph in the midst of adversity. Featured on the album is String Quartet No. 1, the composer’s first full-length string quartet, along with two quintets, both of which undoubtedly live up to the album’s title. 

Highly-acclaimed, highly-prolific pianist Christina Petrowska Quilico embarks on a magnificent journey through time by exploring an entire century’s worth of North American piano music. RETRO AMERICANA splendidly showcases the whole gamut of a long-neglected genre seldom heard in such magnificence.

On SYLVIUS LEOPOLD WEISS, guitarist and lutist Alan Rinehart pays tribute to the composer’s legacy of the high Baroque, bringing to light a collection of works that were overshadowed by the keyboard works of his contemporaries. As Rinehart’s fingers explore the frets, they bring to life the quintessential beauty and liveliness of Baroque’s climactic period and shine light on Weiss’s oft-overlooked repertoire.