Above: McCormick Percussion Group: Back Row L to R: Adam Gould, Kyle Uber, Jazmine Rodriguez, Derek Letsche, AJ Cerrito, Hayden Dumars, Manny Rosadilla, Trevor Hund, and Grace Chang. Front Row L to R: Kaycie Howell, Jacob Barber, Kyle Spence, Maria Petropoulos, and Robert McCormick



Piano Concerto: Solution was written at the request of pianist Eunmi Ko and percussionist Robert McCormick. Growing up in the United States, I would not have thought that 2016 would be the year where the racism and misogyny of the past would come back with such strength. After the disastrous November 9, 2016 election farce, Toni Morrison charged artists to get to work, and her death in 2019 strengthened this personal desire for my career within me. While I have been composing social justice-related works for quite some time, 2017 is when I embraced this aspect of my career without inhibition, preparing for criticism, stereotypes, mono-dimensional expectations, the inevitable labels and boxes, and other unexpected consequences. Yet in the years following this move, the beauty that has been revealed, the work that has come out, the people with whom I have collaborated, the friends and musical family I have met, the opportunities I have been given –these taken together have blocked out the pejorative labels (like “social justice warrior”) and other negativity I received, both subtle and blatant. Piano Concerto: Solution falls squarely within this line of composition, and was developed after discussions with the soloist who premiered the work, Ms. Eunmi Ko. Admitting to being attracted to my social justice leanings, a conversation ensued about some of Ko’s experiences as a female pianist in a world dominated by men, many of whom want to keep it a “boyz only” club. She discussed some experiences (especially when traveling) where she felt disrespected, labeled, and poorly treated. When hearing and reading the several dozens of stories of what men have told aspiring female classical musicians, it became painfully obvious that Ko’s gender is still a problem for far too many men in the classical music field. And from the tension of these interactions, an even stronger woman is born; she is the solution to the problem of misogyny in classical music and everywhere. It is time to make clear what women in the arts and women in general must tolerate and too often sublimate for the mere reason that many men are insecure misogynists stuck in an outdated mentality that the presidential election of 2016 attempted to resuscitate. Piano Concerto: Solution is a musical and visual manifestation of this idea, and can extend to members of other marginalized groups as well. — Anthony R. Green


About the composer: The creative output of Anthony R. Green (composer, performer, social justice) includes musical and visual creations, interpretations of original works or works in the repertoire, collaborations, educational outreach, and more. Behind all of his artistic endeavors are the ideals of equality and freedom, which manifest themselves in diverse ways in a composition, a performance, collaboration, or social justice work.


As a composer, his works have been presented in over 20 countries with artists such as Gabriela Díaz (violin), Wendy Richman (viola), Ashleigh Gordon (viola), Amanda DeBoer Bartlett (soprano), Eunmi Ko (piano) ALEA III (conducted by Gunther Schuller), The Playground Ensemble, Transient Canvas, Ossia New Music Ensemble, Access Contemporary Music, Alarm Will Sound,  The McCormick Percussion Group, and many others. www.anthonyrgreen.com



Pulsar is inspired by the idea of a constant, although unstable pulsation, which runs in two layers. The semiquaver is constant within the piece while the meter changes due to different groupings. Diatonic material develops from the harmonic series and a six-tone mode. The idea was to create music that had a certain natural and even primal feel. Violin, piano, and double bass begin the piece as part of the ensemble but gradually start to create more significant roles as soloists. Pulsar was written for the Strings & Hammers Trio and the McCormick Percussion Group. It was commissioned by Eunmi Ko and Robert McCormick to whom the work is dedicated. — Eduardo Costa Roldán


About the composer: Eduardo Costa Roldán is a flautist and composer based in Madrid, Spain. His music has been performed throughout Europe as well as Asia and North/South America and has been broadcasted by Radio Nacional de España (Spanish National Radio) and Radio Nacional de Portugal. His second chamber opera, Party’s Over, was streamed live worldwide through www.crasmusicas.com.


Head of studies at Andana Music School in Madrid, Roldán has taught flute, piano, and music theory since 1990. He conducts, writes and arranges for the student chamber orchestra there. He was also the composer-in-residence and assistant conductor for Madrid’s Council Symphonic Youth Orchestra for three years, where he wrote new pieces and arrangements.


Roldán holds a master’s degree in Music Composition with Distinction by Goldsmiths - University of London. He graduated in Flute Performance at the Conservatorio Superior de Madrid. He also holds the equivalent to a B.M. in Piano, Music Theory Teacher (2014) and a CAE Grade A by Cambridge University. eduardocostaroldan.com



A memento mori is an artistic or symbolic reminder of mortality. May this work be a memorial for all that we have lost in this current climate—humanity, civility, morals, courage, empathy, compassion, logic, common sense, backbones—and be a charge for those who still stand righteous and strong to fight back, and never back down. I have conceived of the double bass and violin parts as a single “superbass” instrument and have in the back of my head always subtitled this piece as ‘concerto for superbass and percussion’ since its conception. — Emily Koh


About the composer: Emily Koh is a Singaporean composer and double bassist based in Atlanta, whose music is characterized by inventive explorations of the smallest details of sound. In addition to writing acoustic and electronic concert music, she enjoys collaborating with other creatives in projects where sound plays an important role in the creative process.


Described as “the future of composing” (The Straits Times, Singapore), she the recipient of awards such as the Yoshiro Irino Memorial Prize, ASCAP Morton Gould Young Composer Award, Prix D’Ete, and PARMA competitions, commissions from the Barlow Endowment for Music Composition, Composers Conference at Wellesley College, Singapore Symphony Orchestra, Left Coast Chamber Ensemble, Dinosaur Annex Music Ensemble, and grants from New Music USA, Women’s Philharmonic Advocacy, and Paul Abisheganaden Grant for Artistic Excellence. She has been a fellow at the MacDowell Colony and Avaloch Farm Music Institute.


Koh’s works have been described as “beautifully eerie” (New York Times), and “subtly spicy” (Baltimore Sun), and have been performed at various venues around the world in Singapore, Malaysia, Thailand, Vietnam, Hong Kong, Macau, Taiwan, Japan, South Korea, the Netherlands, Italy, France, Switzerland, Finland, Israel, the United Kingdom, Canada, and the United States by acclaimed ensembles and performers such as: McCormick Percussion Group (United States), Talea Ensemble (United States), Ensemble Dal Niente (United States), New York New Music Ensemble (United States), Signal Ensemble (United States), Boston New Music Initiative (United States), New Thread Quartet (United States), Acoustic Uproar (United States), LUNAR Ensemble (United States), East Coast Contemporary Ensemble (United States/Europe), Avanti! (Finland), Israel Contemporary Players (Israel), Sentieri Selvaggi (Italy), the Next Mushroom Promotion (Japan), Chroma Ensemble (UK), The Philharmonic Orchestra (Singapore), Dingyi Music Company (Singapore) and Chamber Sounds (Singapore), among others.


Koh graduated from the Yong Siew Toh Conservatory of Music, National University of Singapore (B.M. Music Composition), the Peabody Institute, Johns Hopkins University (M.M. Music Composition and Music Theory Pedagogy), and Brandeis University (Ph.D. graduate in Music Composition and Theory). She is currently Assistant Professor of Composition at the Hugh Hodgson School of Music, University of Georgia in Athens GA. Prior to teaching at UGA, she taught at Brandeis and Harvard Universities, MIT, Longy School of Music (Bard College), and Walnut Hill School for the Arts. She is a member of ASCAP, and is the honorary member on the executive committee of the Composers Society of Singapore. emilykoh.net



ICE CONCERTO for violin solo and percussion ensemble, is an attempt in doing something decidedly different from my current timbre and materiality-based practice focusing on the concrete and noisy physicality of live performance. In contrast, this is ritualistic, exorcist-like and pitch-driven music that nevertheless keeps its cool distance, exhibiting an inevitable processual drive of a nature event. Yet this rhythmically melting spectral drama is lived through the eyes of a virtuoso protagonist made of oxygen and hydrogen under varying degrees of warmth—from glacial stillness to dancing vapor and, finally, fatally dripping liquid. This is a piece born from a need to write something “musical” yet “macabre” in a time of increasing environmental anxiety. Music composed in freezing, socialist-green Helsinki winter—to be premiered in balmy Florida spring of the Trump-era. This piece is dedicated to the inspiring musicality of violin artista Sini Virtanen, who commissioned the work for her and the magnificent McCormick Percussion Group of the University of South Florida and Robert McCormick in Tampa. Their dedication to bringing this piece to life and recording has left me with deep admiration and gratitude. — Jarkko Hartikainen


About the composer: Jarkko Hartikainen (b. 1981, Finland) is a composer striving to create works that explore what music is and could still be, researching the possibilities in sound through rigorous performer-collaboration as well as studying findings in a plethora of disciplines. Stimulating acoustic phenomena, exciting sonorities, and concrete, bodily impulses through rhythm, resonance, and empathy fuel his often extremely instrument-specific, concentrated writing. Currently Hartikainen is working as a commission-based freelance composer, as well as pursuing his D.Mus degree at the Sibelius Academy of Uniarts Helsinki. Eriikka Maalismaa, defunensemble, Ensemble SurPlus, Tapiola Sinfonietta, McCormick Percussion Group, Ensemble Adapter, London Sinfonietta, Ensemble Schwerpunkt, and other such distinguished performers have recently promoted his work on such festivals as Time of Music Viitasaari, Musica nova Helsinki, aDevantgarde Munich, Musik 21 Niedersachsen, Nordic Music Days, Gaudeamus Muziekweek, etc., and on albums published by Ensemble U:, SibaRecords, and NEOS Music. jarkkohartikainen.net



Apollon (Greek God of Music, Prophecy and Healing) was written for solo piano and six percussionists. Dedicated to pianist Eunmi Ko, Robert McCormick, and the McCormick Percussion Group, Apollon is written in three titled movements: “I. Delphoi,” “II. Logos,” and “III. Ekstasis.” The work begins with an opening roll on the gong and transforms through a piano cadenza into the second movement opening statement with bongos and toms. The third movement is announced with bells, vibes, and crotales. The movements are performed with minimum pause. — Alessandro Annunziata


About the composer: Born in Rome, Italy, Alessandro Annunziata began playing instruments and composing at an early age. He graduated with honors in Literature and Philosophy and specialized in History of Music and Musicology. After studying composition and piano in Rome, he decided to continue his musical research through independent studies on classical and contemporary repertoires as well as popular music particularly in the Mediterranean and European areas. Greek composer (native of Italy) Dimitri Nicolau (Keratea 1946 – Rome 2008) has been the most influential on the composer’s artistic growth. Both Annunziata and Nicolau view music as inter-human communication and continuous and inexhaustible research of emotional and imaginative expression of our own human identity. Annunziata has worked as musicologist, journalist, teacher, and lecturer. He is author of many articles on music and music history.


His compositions are regularly performed by internationally renowned performing artists, chamber ensembles, and orchestras from around the world. Notable venues include: Lincoln Center of Performing Arts, MoMa (New York), Auditorium Parco della Musica (Rome), Cantiere Internazionale dell’Arte di Montepulciano (Italy), Fondazione Perugia Musica Classica (Italy), Festival “I Suoni delle Dolomiti” (Italy), LingottoMusica, Auditorium del Lingotto (Turin, Italy), Festival di Nuova Consonanza (Rome, Italy), Toronto Chamber Music Downtown (Canada), Salle Tudor – Maison Ogilvy (Montreal, Canada), Queen’s University of Kingston (Ontario, Canada), Società del quartetto (Milano, Italy), Accademia Filarmonica Romana (Rome), Barletta Piano Festiva & Amici della Musica “Mauro Giuliani” (Barletta, Italy), Flaneries musicales de Reims, (France), and many others. alessandroannunziata.com







Ravello Records is the contemporary classical label imprint of audio production house PARMA Recordings. Dedicated to highlighting forward thinking composers and musicians from around the world, the New England-based label's eclectic catalog offers listeners a cross-section of today's up-and-coming innovators in orchestral, chamber, and experimental music.



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