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"A couple of gems round out the recording. Edie Hill's This Floating World are musical illustrations of five haiku by the great Japanese poet Basho (translations by Robert Hass are included in the notes). On the strength of Chatterton's performance - a sketch-pad that includes a sky-lark, the harvest moon, winter solitude, a petal shower, and the Milky Way - the piece instantly takes its place among the staples of the solo flute repertoire."

American Record Guide

"[The program] also includes Edie Hill’s startling but beautiful work 'Blue Jewel,' which is part of the 'Glass Works Collection' heard on 'Of and Between.'"

“'Blue Jewel' ...exemplifies the vibrant music-making of Rochester’s preeminent professional avant-classical ensemble."


Daniel J. Kushner, Rochester City Newspaper

"In 'A Sound Like This,' she seizes six Bly paraphrases of the Indian mystic Kabir by the scruff of the neck and never lets go. Sung in near-darkness, her opening movement, with its whispered entreaties to 'Listen' and 'Wake up,' is arresting, and her invention never flags."

Larry Fuchsberg, Minneapolis Star Tribune

"Hill allows lines and themes to develop and evolve almost below a listener's ear. She doesn't hike the dynamic and tempo to build intensity. Her music is rife with quiet, and some of the quietest passages are the most intense."

Matt Peiken, Saint Paul Pioneer Press

"Edie Hill’s choral writing in “Spectral Spirits” is expert. She employs a smoothly unfolding harmonic language that is beautifully voiced between the highest and lowest ranges of the choristers, evoking the feel of the skies against which the flocks of birds fly and the trees upon which they sing their threatened songs."

Micahel Caruso, Chestnut Hill Local

"...bold...radiant, deftly crafted..."
"...[Spectral Spirits] quickly establishes its power to touch both heart and mind with its rich, polychordal harmonies."
"...[Hill's writing] displayed a madrigalist's ear for sonic detail and word setting..."

Clive Paget, Musical America

"[Evolutionary Spirits] takes its title from a line in Hill's opening Poem for 2084, a prototypically splendid example of The Crossing's artistry. For six minutes, the male and female singers swell in glorious harmony; clarity of intonation and diction is omnipresent regardless of whether the voices loudly declaim or drop to a whisper. With the vocals soaring, Hill's piece (with text by Joan Wolf Prefontaine) exudes an ethereal mysticism as it muses on the state of the world."


"[Edie Hill: Clay Jug] was among the finest choral releases in Navona’s catalogue."

"[Evolutionary Spirits] opens with Hill’s Poem for 2084 which features gorgeous lines with ancient modes and settings reminiscent of the late Middle Ages.  The harmonies move from these more ethereal open sounds to closer dissonant clusters.  A similar approach occurs in the penultimate track, Marvelous Error!.

Steven Kennedy, Cinemusical,

"The creativity of another contemporary artist, Edie Hill, has a similar meaning - her music is often called 'an evocation of magic'. Two of her compositions presented here, Poem for 2084 and Marvellous Error!, are both distinctive of its mysticism of the unclear draw of harmonic structures. The solo soprano line in Poem for 2084 creates tough dynamic effects. Thus the effective bright and the hidden/unclear take place in the piece as the contrasting forces that manage the world of sound. This distinctive power in Edie Hill's music and The Crossing's strength of performance create a very compelling listening experience."

Ona Jarmalavičiūtė, Classical Music Daily

“Last July we had a glorious week immersed in the lush, thoughtful music of Edie Hill. We took great care in setting down a full CD of her works, with Edie in the room - works like Cancion de el Alma, a work that leaps, tumbles, reaches for the sky, and settles in undulating waves and rich harmonic clouds. The result is another new release from The Crossing, out today on Navona Records, in which we get to do what we love most: sing beautiful music.
Thanks Edie for sharing your art with us.”

Donald Nally, The Crossing

"Edie Hill offers a diverse collection of works on Clay Jug. She manages to shift the listener’s perspective of the choir from to track to track...For me, choir music can elate my soul, or leave me cold, depending on how its performed. Here, on every track, I found something beautiful to get excited about; something to touch the soul... and to me, that's what classical music should be all about."

Darren Rae, Review Graveyard

"She is especially adept at setting several different languages in very attractive ways...Hill is very skilled at selecting rich and ‘music ready’ texts as well...There is a fascinating sound that permeates her work with moments of clear “modernity” alongside timbres, voicings and mood that owe a lot to the Renaissance and the ars antiqua of Spain among others."

Daniel Coombs, Audiophile Audition

"Mesmerizing Choral Music"

"The different solo instrument colors weave intricately through the choral texture with an at times almost mesmerizing vibraphone idea adding a magical sense to the gorgeous harmonic writing in the central movement. An ancient quality appears in the final “Paleolithic Flute” with an intriguing solo line seeming to pull as back in time. The end result is an often intriguing blend of harmony and pure choral quality that is a sort of American parallel to some of the more familiar English choral music at the end of the 20th Century."
-for From the Wingbone of a Swan

"Each of the smaller works explores different languages exhibiting Hill’s deftness and crafting fascinating sounds out of these texts whether from Anglo-Saxon (The Phoenix), Spanish (Cancion De El Alma), or Latin (Alma Beata Et Bella)."

Steven A. Kennedy,

"Such fine vocal writing allows the singer and conductor to simply follow the score in letting the sound of the composition speak for itself"

-Paul Laprade on An Illuminated Transience

The Choral Journal (2008-05)

Cancion de el alma hailed as "a revelation."

NRC Handelsblad

A "masterpiece" 
Regarding the world premiere of Cancion de el alma by the Estonian Philharmonic Chamber Choir

Chicago Tribune

“...When Edie Hill's 'A Sound Like This' began, with its urgent exhortation to “Listen!,” I just about jumped out of my skin...You'd think that triggering my fight or flight response might have been an unpleasant experience, but I just sat there grinning...Then Cantus began singing harmonies that chased around the soundstage before blooming into a major chord – all interspersed with more whispered exclamations...and my grin stretched to rival Heath Ledger's.”

Wes Phillips, Stereophile Magazine

"A True Heart is Waiting is flat-out beautiful—deep and tuneful and full of mystery that resists your knowing it too well."

(for TTBB voices, premiered by Cantus)

Wes Phillips, Stereophile Magazine

"Hill's masterful facility for setting words and exploiting the emotional richness of texts keeps her in demand."

William Randall Beard, Minneapolis St. Paul Magazine

"Few are creating more varied or distinctive works than Hill."

Saint Paul Pioneer Press

"Ms. Hill's composition was astoundingly beautiful... an impressionistic masterpiece."

-on Invocation, flute concerto

The Cape May Star and Wave

"... delicate and sprightly with a foundation of dignified solemnity... [A Birthday] drew the loudest and most enthusiastic ovation of the event..."

Muskegon Chronicle

"Edie Hill's work reveals both exciting creativity and strong craftsmanship. She has an obvious kinship with the choral medium and a sensitivity to the potential of the human voice."

-on Poem for 2084

Dale Warland, conductor

"... wonderful leaps, tempo contrasts, and sense of drama pervade [Hill's] work."

-on Between the Limbs, Music

NATS Journal

"One of the Twin Cities' best-known young creators."

Saint Paul Pioneer Press

" exquisite bit of musical impressionism that conjured visions of snowdrifts and moonlight and tinkling icicles and howling wind across the Minnesota tundra."

-on Cold Blue Night, for solo flute

Sherman Sentinel

"Her three-movement piece of airborne tone painting shows how much can be done with a single line..."

-on Flights of Fancy, for solo cello

The Danbury News-Times

"... a joy to [perform]... with maximum capacity for expression. Delicate, but strong. A surprisingly athletic task."

-on A Little Lovely Dream, SATTB a cappella

J. David Moore, conductor

"Edie Hill, one of the Twin Cities' best known creators, has been named [the Rose Ensemble's] composer-in-residence, and the first of two works intended for the ensemble was given its world premiere... Her 'Alma Beata et Bella,' a delicate setting of words by a 15th Century Italian poet, grew softly in slow and patient scales, and at its end, bloomed harmonically into a gentle kind of ecstasy, one that many saints have surely known."

Saint Paul Pioneer Press