Bli med og støtt Ukrainas musikkliv!

Vi har satt sammen en liste over ukrainsk musikk fra Naxos egne platemerker, med alt fra tradisjonell folkemusikk til klassiske komponister som Kapustin, Stankovych og Silvestrov.

Fra nå og ut juli vil Naxos donere 20 Kr per solgte enhet til ukrainske musikere og orkestre for å bidra til å finansiere deres kunstneriske virksomhet.
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Image Ukrainian Piano Quintets
Boris Lyatoshynsky was a leading member of a new generation of Ukrainian composers that emerged in the 1920s. His expansively conceived Ukrainian Quintet finds him at his most emotionally overt, with a heartfelt Lento e tranquillo second movement. Dedicated to Lyatoshynsky, Valentin Silvestrov’s Piano Quintet dates from the start of his Modernist odyssey of the 1960s, while Victoria Poleva’s withdrawn and secretive Simurgh-quintet is part of a style that embraces spiritual themes and musical simplicity defined as ‘sacred minimalism’.

kr 119
Image Complete Symphonies (3CD)
Boris Lyatoshynsky was a leading member of the Ukrainian cultural renaissance in the 20th century and his five symphonies remain the most important cycle in his country’s musical history. Although the Romantic and lyrical First Symphony evokes the traditions of Borodin, Gliere, and Tchaikovsky, Lyatoshynsky soon moved away from Russian models, drawing together Ukrainian folk songs and melodies with contemporary harmonic and formal approaches. His symphonic orchestration was inventive, his themes memorable. The Third Symphony is his most moving and famous, and originally bore the epigraph ‘Peace will defeat war.’ Also included is his emotionally charged symphonic ballad Grazhyna.

kr 269
Image Complete Piano Works, Vol 1
ADOLF BARJANSKY was born in Odessa into a wealthy Russian-Jewish family, and received his musical education in Vienna, Paris and Leipzig, studying piano with Carl Reinecke and Salomon Judassohn. Barjansky composed relatively few works, but his highly attractive and original piano music reveals the influence of Schubert, Beethoven and Brahms with a wealth of Russian color, as heard in the Fantasy Pieces. The 6 Piano Pieces are impressionistic and radiant, while the large-scale Piano Sonata No. 1 uses spatial sound as a principal means of expression, blending it with a highly modern simplicity and transparency of structure that anticipates 20th-century minimalism. Julia Severus began playing the piano at the age of four. She graduated from the Berlin University of Arts and from the Moscow Tchaikovsky Conservatory, where she studied piano with Mikhail Voskresensky and Lev Naumov. Wishing to explore piano ensemble repertoire, she founded the Aurora Duo and Quartet, performing numerous premieres and world premieres, among them Rodion Shchedrin’s Hommage à Chopin in the presence of the composer, followed by a recording for two pianos, eight hands, of Russian Romantic Piano Transcriptions (Naxos 8.557717). Her solo recordings, including Tchaikovsky’s opera and song transcriptions (GP795), have been highly praised. Julia Severus lives and works in Paris and Berlin.

kr 149
Image Complete Piano Works, Vol. 2
Adolf Barjansky was born in Odessa into a wealthy Russian-Jewish family, and received his musical education in Vienna, Paris and Leipzig, studying piano with Carl Reinecke and Salomon Jadassohn. Barjansky’s compositions focus mainly on solo piano works couched in conventional forms, enhanced by his use of imagery, impressions and spatial sound. The two expansive sonatas in this volume display his fusion of lyricism and poignancy, as well as an adaptable sense of modern harmony. The Moderato in B major is at times suggestive of early Scriabin. Julia Severus continues her acclaimed discovery of this unique and visionary 19th-century composer.

kr 149
Image I cried out to the Lord
Ensemble Cherubim • Marika Kuzma

Ukrainian-born Dmitry Bortniansky studied composition in Italy and later became the first native Kapellmeister to the Russian Czars. His choir was renowned throughout Europe. As a composer for the Orthodox Church, which forbids the use of musical instruments, Bortniansky developed a symphonic approach to choral writing that influenced all later Slavic composers and gives his Choral Concertos their absolute distinctiveness. The Cherubic Hymn No. 7 is among the best-known of all Slavic choral works. Concerto No. 32 was beloved of many of his Slavic successors, including Tchaikovsky. This recording of the concertos is the first to restore authentic early nineteenth-century Church Slavonic pronunciation and reintroduce fine details found in archival sources.

kr 60 (kr 119)
Image Eight Concert Etudes
Catherine Gordeladze, piano

Nikolai Kapustin built his reputation as a jazz pianist during the 1950s and 1960s. Staking a claim as a classical composer who happens to work in a jazz idiom, he cites Oscar Peterson as his single biggest influence. The Eight Concert Etudes balance stylistic allusions to long established pianistic tradition with an exuberance which has made them favourite encores. Using the same key-sequence as Chopin and Shostakovich, the extraordinary 24 Preludes in Jazz Style exude nonchalant wit and pulsating energy.

kr 119
Image Complete Chamber Works for Flute
Nikolai Kapustin’s music is renowned for its witty and seamless fusion of jazz idioms and formal classical structures. In recent years, the composer has forged a formidable association with American flautist Immanuel Davis, who here interprets his highly sophisticated Flute Sonata, Op. 125 with great virtuosity. Divertissement explores the different jazz harmonies available from the four instruments, contrasting with the textural transparency of A Little Duo.

kr 60 (kr 119)
Image Piano Sonata No. 15 / Preludes / Etudes / Bagatell
Kapustin's pianistic textures are rich, spanning the entire keyboard, with melodies in every register, sweeping arpeggios, tons of chords, and a fantastic array of runs. Such music is Kapustin's birthright: Ukranian born and Moscow trained, he has Medtner, Rachmaninov and Scriabin in his veins. But the jazz side is equally authentic, incorporating the fleet pianism of Oscar Peterson and the harmonic volatility and technical exuberance of Art Tatum. Kapustin's music also encompasses more modern sounds, such as McCoy Tyner's quartal voicings and the pop-tinged stylings of Keith Jarrett.

kr 119
Image Saxophone Chamber Music
At first glance, it might be surprising that a pianist born in the Soviet Republic of Ukraine, who went through the classical Russian school of pianists, should compose exclusively in the idiom of jazz. But jazz was more prevalent in the Soviet Union that might be supposed. Already in the 1930s, Oleg Ludstrem began appearing with his Big Band touring in the UDSSR. Later, Nikolai Kapustin worked for many years in this orchestra as a pianist and arranger. ‘What interests me most is the fusion between classical music and jazz, and between the classical form and the jazz idiom. Here, the classical portion has more weight for me. The jazz style is merely color.’ (Nikolai Kapustin).

kr 80 (kr 159)
Image Orchestral Works
“…our life is like jazz improvisation, it should always be spontaneous, always in the moment, and always free.” (Nikolai Kapustin) Drawing parallels to another famous composer of symphonic jazz, Kapustin is occasionally considered a ‘Russian in Gershwin’s clothing’. Most of his compositions are influenced by jazz and expertly combine jazz elements with those of the tradition from Bach to Prokofiev and Stravinsky. The aesthetic diversity with which classical garb and the stylistic devices of jazz are amalgamated in Kapustin’s output could be taken as the byword for all three compositions included on this recording. Only late – perhaps too late for Kapustin – did his catalogue of works reach greater international recognition. People who knew him, describe him as a man who never desired the limelight. Apparently, he was happiest when he was able to compose work after work in his apartment, far away from the public eye.

kr 159
Image Blueprint
Kapustin uses jazz as his musical language and then composes quasi-improvisations that sound as though they stemmed right from Oscar Peterson’s or Erroll Garner’s fingers. He is one of the few who were able to have the structures of composition and liberty of improvisation come together to such an organic whole.' After his first successful release with the piano- and double concerto of Russian composer Nikolai Kapustin (Capriccio C5437), Frank Dupree presents the original jazzy solo piano pieces of the still unknown master, enlarged with additional bass and drums. The genres of Jazz and classical music finally melt in a fascinating pure Jazz-Trio formation.

kr 159
Image Cello Concertos
In recent years, the jazz-like, classical and modern music by the Ukrainian composer Nikolai Kapustin (*1937) has become an inside tip on classical concert stages. During a visit to Nikolai Kasputin in Moscow ten years ago, the composer entrusted the cellist Eckart Runge with the notes for his Cello Concerto No. 1 op. 85, which, unlike the second one, had neither been performed nor recorded. The work vibrant with energy combines in unparalleled manner colorful symphonic music with the groovy sound of the big band tradition and the virtuosity of a Charlie Parker with the chamber music intimacy of a Miles Davis into a new and fulminant musical diction. With his fascinating, poly-stylistic realm of sound, mirroring an absolutely personal diction, two decades after his death Alfred Schnittke has become one of the composers of the 20th century permanently established in the repertoire. The Concerto for Cello and Orchestra No. 1 was commissioned by the City of Munich for the inauguration of the Gasteig Cultural Centre in 1985/86.

kr 159
Image Concertos for Orchestra Nos. 1-3
Bournemouth Symphony Orchestra
Kirill Karabits, conductor

Following Ukraine's independence in 1991, Ivan Karabits became the country's leading musical figure. An inspirational composer, artistic director and teacher, he absorbed into his own music three particular traditions: Mahler, Shostakovich, and the folk-music of his native country. The colourful, virtuosic and at times theatrical Concertos for Orchestra reflect the influence of his friend and mentor, Rodion Shchedrin. Following Karabits' untimely death, his compatriot Valentin Silvestrov composed two heartfelt memorials. The first of these, Elegie, makes use of Karabits' own unfinished pencil sketches which sit side by side with Silvestrov's own ideas as the piece progresses, almost as if it were a dialogue between the two friends about their work.

kr 60 (kr 119)
Image The Piano Concertos
Zara Alexandrovna Levina, born 1906 in Alexandrovsk (Ukraine), witnessed two world wars, the Revolution as well as the collapse and totalitarian reconstruction of her homeland. She was under the constant ideological pressure of the existentially threatening state censorship, which was particularly exerted by the notorious RAPM (Russian Association of Proletarian Musicians) in the 1920s and 1930s, driving her to the brink of a creative and health disaster. However, Zara Levina was able to retain her own and unmistakable voice in her music. She died in Moscow on 1976 as a respected and much-performed composer beloved of musicians such as David Oistrakh, Maria Grinberg, Victor Knuschewitzki and the public alike. Vocal works like her romances meanwhile belong to the salient repertoire of Russian music.

kr 159
Image Chamber Music
After the great success and Grammy nominated Album of The Piano Concertos by russian composer Zara Levina (Capriccio C5269), this recording focus now on different types of chamber Music compositions by the same composer. Again, the Swedish pianist Maria Lettberg plays the leading part on this recording and shows the high creativity of the unjustified forgotten composer.

kr 80 (kr 159)
Image Symphony No. 1 / Grazhyna
Ukrainian State Symphony Orchestra
Theodore Kuchar

Boris Lyatoshynsky is seen as the father of twentieth-century Ukrainian music. His compositions brought him not only critical acclaim, but also into conflict with the Soviet authorities. The remarkable First Symphony draws on the romantic traditions of Tchaikovsky and Wagner, and has at its heart a dramatic and tragic central movement originally entitled Lyric Poem. The symphonic ballad Grazyhna is one of Lyatoshynsky's true masterworks, expressing the highly charged emotions of sorrow and heroism in Adam Mickiewicz's inspirational poem. This is the first of three discs comprising the complete Lyatoshynsky symphonies.

kr 119
Image Symphonies Nos. 2 & 3
Ukrainian State Symphony Orchestra
Theodore Kuchar, conductor

The new generation of twentieth-century Ukrainian composers was led by Boris Lyatoshynsky, whose symphonic cycle is the most important in his country's musical history. His Second Symphony of 1935-36 reflects the turbulence of the times. The Third Symphony is his most performed and admired, a powerful, intense creation that was enthusiastically received at its première. This is the second of three discs comprising the complete Lyatoshynsky symphonies.

kr 119
Image Symphonies Nos. 4 & 5
Ukrainian State Symphony Orchestra
Theodore Kuchar

Boris Lyatoshynsky was the foremost Ukrainian composer of the twentieth century and his five symphonies are the cornerstone of the symphonic music of his country. The Fourth Symphony of 1963 met with immediate acclaim for its imaginative orchestration, while the Fifth Symphony is memorable for its use of Ukrainian folkloric material. This is the third of three discs comprising the complete Lyatoshynsky symphonies.

kr 60 (kr 119)
Image Complete Orchestral Works Vol 1: Partita / Le Para

"...enastående bra musik."
(Nerikes Allehanda)

This first volume of the Naxos Igor Markevitch Complete Orchestral Works Edition, to be followed by the seven volumes previously released on Marco Polo, brings together two relatively early compositions of astonishing technical and æsthetic assurance. The Partita is in effect already his second Piano Concerto, written when the composer was twenty. The granitic oratorio Paradise Lost, whose première the composer himself conducted at the BBC in London barely three years later, is among the most important of the composer's works, bearing comparison with Stravinsky's contemporaneous OEdipus Rex and Perséphone, yet of striking individuality of vision.

kr 119
Image Orchestral Works Vol 2: Le Nouvel âge / Sinfoniett
Igor Markevitch's renunciation of composition at the age of 29 in favour of a conducting career remains a mystery, given the rapturous responses his youthful music inspired. The extraordinary works on this disc are a case in point. The Sinfonietta is his first truly assured composition, the Cinéma Overture transforms the Blue Danube waltz into a modernist mini-masterpiece, while Le Nouvel Âge is one of his most intense, tightly constructed works, rich in polyrhythms and brimming with mysticism. Lyndon-Gee 'conducts with an unflagging energy' (Fanfare).

kr 60 (kr 119)
Image Orchestral Works Vol 3: Cantique d'amour / L'Envol
This third volume of Naxos's Igor Markevitch Complete Orchestral Works Edition, presents the composer's first truly individual work, The Flight of Icarus, the tumultuous 1933 première of which Milhaud proclaimed 'a date in the evolution of music'. The Concerto Grosso, with its daringly original harmonic language, polytonal and rhythmic ideas, and the evanescent Song of Love, which recalls both the orchestral colour and emotional detachment of Ravel, are likewise regarded as youthful masterpieces. Volumes 1 (8.570773) and 2 (8.572152) have been praised for their 'breathtaking power' and 'deeply committed performances'.

kr 60 (kr 119)
Image Complete Orchestral Works Vol 4: Rébus / Hymnes /
- This fourth volume of Naxos's acclaimed edition of Igor Markevitch's Complete Orchestral Music presents two of his most intriguing works.

- Rébus is an enigmatic ballet commissioned by Léonid Massine but never performed as such, is here coupled with Hymnes, one of Markevitch's most experimental compositions (the 'hymns' are wordless and completely secular) to which, shortly before his death, he appended the Hymne à la Mort.

- Volumes 1-3 are available on 8.570773, 8.572152 and 8.572153.

kr 60 (kr 119)
Image Orchestral Works Vol. 5: Lorenzo il Magnifico / Ps
The two vocal works featured on this disc encompass virtually the entire span of Markevitch's compositional life, and the whole range of his style, from the gripping immediacy of Psaume, written at the age of 21, to the polished sophistication of Lorenzo The Magnificent, written a bare decade later yet almost marking the close of his brief output of original creative work. This work is thus (apart from the remarkable orchestration amounting virtually to a recomposition of Bach's A Musical Offering of 1949-50) Markevitch's adieu as composer to the colours of the orchestra.

kr 60 (kr 119)
Image Complete Orchestral Works Vol 6: La Taille de l'Ho
Arnhem Philharmonic Orchestra
Christopher Lyndon-Gee, conductor

Composed by the 27-year-old Igor Markevitch when he was at the height of his creative powers, La Taille de l'Homme (The Measure of Man) is a virtuoso ensemble work which fully deserves to be in the repertoire despite its incomplete state (Part 2 was never written). The libretto was written by C.-F. Ramuz, author of the text of Stravinsky's The Soldier's Tale. The score of this powerful evocation of life's stages linked to the passage of the seasons was long believed lost until it was discovered among the papers of Markevitch's teacher, Nadia Boulanger.

kr 60 (kr 119)
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