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Aftenstemning - Musikk til middagen
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kr 29 (kr 79)
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MUSIKK TIL DIN LESNING
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kr 19 (kr 79)
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VÅRSTEMNING
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kr 29 (kr 79)
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5CD-BOX: Choral Classics from Cambridge
This set of 5 CDs showcases the celebrated choral music tradition that is at the heart of Cambridge's Clare College, King's College and St John's College. Featuring a collection of popular choral favourites from composers such as Mozart, Elgar, Mendelssohn, Brahms and Purcell, and an in-depth exploration of Renaissance lamentations, this set also features a recording of Evensong and Vespers at King's, evoking the college's tradition of daily choral singing.
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kr 99 (kr 179)
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The Romantic Cello
This invaluable survey of that most Romantic of instruments includes both the classic concertos of the era, by Dvorak and Saint-Saens, as well as a generous selection of encores and showpieces, performed by a variety of cellists from this and earlier generations. Including Zara Nelsova, in whose classic interpretation of the Dvorak one may readily hear the admiration evinced by the composer's friend Brahms who, on hearing the work, remarked that he would have composed a concerto for the instrument himself had he realised the possibilities inherent in a combination that may present certain problems of balance, pitting the mellow voice of the solo instrument against a full orchestra, but that yet may be overcome through a sensitive songfulness that came beautifully and naturally to Dvorak. Brahms, of course, can be considered to have made good his omission with the late flowering of the Double Concerto. His expansive E minor Sonata is here, alongside the deft turns of Mendelssohn's first sonata (in a performance by Luca Fiorentini on a rare Strad cello), as well as more lyrical sonatas by Chopin and Rachmaninoff, treasured by cellists for their juicy melodies and the opportunity to engage with the idioms of composers who largely wrote for the piano.The last disc opens with perhaps the most famous of all cello encores, The Swan, from Saint-Saens's Carnival of the Animals, which seems perfectly to capture the potential both for melancholy and for imitation of the human voice which places the cello alone among the string family.
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kr 99 (kr 179)
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Russian Ballets (3 CD)
Towards the end of the 19th century, ballet was declining in popularity in Western Europe but acquired an increased significance in Russia. This was thanks in part to the music for dancing which had been part of native operas ever since Glinka founded a school and tradition with Ruslan and Ludmila and A Life for the Tsar. However, it was also due to a succession of gifted French choreographer such as Marius Petipa that the St Petersburg ballet flowered. Minkus, Delibes and Adam, among many others, were commissioned for scores by Petipa, but it was with Tchaikovsky that ballet music would alter radically, away from its incidental, accompanimental role and towards a symphonic status which is recognized by the ballets on this compilation being at least as famous for their music as their dancing. Petipa was responsible for commissioning the composer’s most familiar ballet – perhaps the best-loved ballet of all, The Nutcracker, on which the composer exercised all his mastery of timing and orchestration. Although Serge Diaghilev was the great innovator in commissioning and choreographing music for dancing at the turn of the last century, his example was ignored in Russia under Soviet rule. The great state companies in Leningrad and Moscow continued the 19th century tradition of full-evening ballets to which these examples by Prokofiev (Romeo and Juliet, Cinderella and the more rarely encountered Stone Flower) and Khachaturian (Spartacus and Gayaneh) belong. ‘Dancing,’ said the Danish choreographer August Bournonville, ‘is an expression of joy, a desire to respond to the rhythm of the music.’ That joy is amply illustrated by the suites from eight ballets in this compilation, which would make an invaluable introduction to the artform.
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kr 79 (kr 129)
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Armenian Composers
Mariam Sarkissian, mezzo-soprano
Artur Avanesov, piano
This year's commemoration of the Armenian Genocide has drawn attention to the rich cultural heritage of this "hidden" country, with its unique language, script and folklore.
This new recording presents three Armenian composers of three generations.
The song cycle "Emerald Songs" by Romanos Melikyan is written on words by 8 contemporary Armenian poets, in a spicy Ravelian language inspired by Armenian folk music. Mansuryan is of the same generation and blood group of Schnittke, Gubaidulina, Pärt and Kancheli. Young Avanesov's piano cycle "Feux follets" is in postmodern style, free and associative.
Sung with great intensity and feeling for the idiom by Armenian mezzo soprano Mariam Sarkissian, who recently received an "Orphée d'or" for her CD of vocal works by Tchaikovsky and Cui.
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kr 49 (kr 89)
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Per Anni Circulum, Gregorian Chant
Schola Gregoriana Benedetto XVI / Don Nicola Bellinazzo
This new recording of Gregorian Chant presents a journey through the complete Liturgical Year: Advent, Christmas, Lent, Easter and Ordinary Time, the ever-recurring spiritual cycle, caught in the timeless medieval melodies of Gregorian Chant, as it was and as it always will be.
Sung with devotion and clear intonation by the Schola Gregoriana Benedetto XVI from Bologna, and recorded in the spacious and warm acoustics of the St. Christina’s Church in Bologna.
The booklet contains excellent liner notes as well as the sung texts.
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kr 49 (kr 89)
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Piano Music for Children
Klára Würtz, piano
Prima La Musica / Dirk Vermeulen
This new compilation presents a charming selection of piano music for children. Alongside the familiar melodies of Beethoven's Für Elise and Mozart's Rondo alla Turca are Tchaikovsky's Album for the Young and Debussy's exuberant Children's Corner, including the famous 'Golliwog's Cakewalk'. Robert Schumann's playful Kinderszenen (Scenes from Childhood) include pieces with titles such as 'At the Fireside', 'Frightening' and 'Blind Man's Bluff', which are sure to enchant children of all ages. The orchestral players of 'Prima La Musica' join the piano for the well-known Andante from Mozart's Piano Concerto No.21, with its dreamlike melody heard in the violin and piano parts. Children will undoubtedly be captivated by the variety of delightful music offered in this tailor-made collection.
Hungarian pianist Klára Würtz is one of Brilliant Classics' most prolific artists, enjoying an international career. Having won prizes in Dublin and Milan, she signed to a New York-based management company, leading to performances at Carnegie Hall and other prestigious concert venues throughout the US and Canada. She currently teaches at the Conservatory of Arts in Utrecht.
This CD is a reissue of one of the most successful Brilliant Classics recordings, Piano Music for Children, a simple and powerful concept aimed at a wide audience of music lovers, teachers, parents, grandparents and (of course..) children.
Included are the popular Kinderszenen by Robert Schumann, Children's Corner by Claude Debussy and a selection from the Album for the Youth by Tchaikovsky, and not to forget the most iconic work for a child ever written: Beethoven's Für Elise.
Hungarian pianist Klára Würtz plays with a natural, direct expression, warm and communicative.
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kr 49 (kr 89)
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Norwegian Memories
This CD brings together three works for guitar and strings which are inspired by the majestic landscape of Norway, its fjords, mountains, springs and woods, the silence and mystique.Italian guitarist and composer Giorgio Mirto wrote his Concerto Norwegian Memories on the basis of old legends and fairy tales. The 'Viking Concerto' by Norwegian composer Gisle Krogseth is a 20th century pendant of Peer Gynt, its three movements named 'Returning from Abroad', 'Night in the Woods' and 'A Feast, a Fight and a Funeral'.Played with great intensity by the master himself, Giorgio Mirto, accompanied by the Florence String Ensemble.World Premiere recordings!
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kr 49 (kr 89)
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A Song of Farewell
A Song of Farewell
Music of Mourning and Consolation
Gabrieli Consort
Paul McCreesh, conductor
"... This album ... serves as a vital reminder that there is more depth of feeling, emotional power and intellectual stimulation to the art of music-making than we can ever hope to truly understand. All we can do is applaud."
Classic FM Magazine
Continuing Signum's new partnership with Paul McCreesh and the Gabrieli Cosort following the triumphant success of Berlioz's Grande Messe des Morts (SIGCD280), their next release will be a recording of the groups renowned a cappella programme of music for mourning and consolation. This is a beautifully poignant programme of British choral music, including works by composers as diverse as Morley and Dove, Sheppard and Walton and featuring Howells' sublime Requiem.
Praise for Berlioz's Grande Messe des Morts :
BBC Music Magazine - *****
Classic FM Magazine - *****
Classical Music Magazine - *****
Gramophone Magazine - Editor's Choice Music Web International - One of 2011s Recordings of the Year
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kr 99 (kr 159)
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Triple Bill
Also available on Blu-ray: OA BD7074
MacMillan's vision has been vital in shaping The Royal Ballet's style and repertory, and what better way to appreciate his art than with this rare chance to experience three contrasting works in a single performance. Abstract, dramatic, humorous - this programme gives a wonderfully varied introduction not just to MacMillan's work but to the beauty and dramatic power of ballet itself. Concerto, to Shostakovich's Second Piano Concerto, contrasts moments of exuberance and elegiac reflection. The Judas Tree places a single woman among 13 men to enact a harrowing event that is recognizably contemporary but with biblical overtones. Elite Syncopations completes the programme with a sparkling evocation of a dance hall that brings ragtime rhythms to the dance, and a ragtime band to the stage.
Concerto
Music: Dmitry Shostakovich
Artists: Marianela Nuñez, Yuhui Choe, Steven McRae
Conductor: Dominic Grier
Elite Syncopations
Music: Scott Joplin & other Ragtime composers
Artists: Sarah Lamb, Valeri Hristov, Steven McRae
Conductor: Robert Clark
The Judas Tree
Music: Brian Elias
Artists: Carlos Acosta, Leanne Benjamin, Edward Watson
Conductor: Barry Wordsworth
The Orchestra of the Royal Opera House
Recorded live at the Royal Opera House, March 2010
Extra features:
Introductions to each ballet piece by Deborah MacMillan
"There has never been a choreographer that I can think of who could produce three such contrasting works, and you sit watching in wonderment at the fertile imaginings of his mind. "
(Telegraph)
"It's grisly, and yet horribly exciting in its momentum, as the men show off to each other like skateboarders, flinging themselves into barrel turns while knotting and unknotting their legs."
The Independent
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kr 198 (kr 299)
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Rite of Spring / Jeu de cartes
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kr 39 (kr 79)
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A Beethoven Journey
Leif Ove Andsnes is undoubtedly one of the top pianists of our age. For four years he has been performing and recording the five Beethoven piano concertos, primarily with the Mahler Chamber Orchestra but also with the major conductors & orchestras worldwide - such as Gustavo Dudamel and the LA Philharmonic. Award-winning film-maker Phil Grabsky has been with him throughout.
The film is much more than a portrait of a great pianist on tour - it is an in depth exploration into the much misunderstood life of Ludwig van Beethoven, as revealed by these five masterworks. The relationship between Beethoven and his world is mirrored by the relationship between the pianist and orchestra in these concertos. Grabsky's acknowledged skill is biography and he believes that many people know too little about arguably the greatest composer of all time.
This is an exciting, beautifully cinematic film offering a fresh look at Beethoven through the widely acclaimed performances and articulate insight of the great Leif Ove Andsnes.
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kr 159 (kr 239)
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Wozzeck
Georg Nigl, Mardi Byers
Orchestra & Chorus of the Bolshoi Theatre
Teodor Currentzis
Stage direction and set design: Dmitri Tcherniakov
In 2010, for the first time in its history, the Bolshoi Opera presented Alban Berg's masterpiece 'Wozzeck'. Dmitri Tcherniakov's truly historic production is now available in this HD DVD.
The Russian director's aim with this bold, sensitive transposition was "to highlight the hidden sorrows of a late 20th-century man dwelling in a megalopolis." The redoubtably complex title role was entrusted to Austrian baritone Georg Nigl. Nigl studied with Kammersängerin Hilde Zadek. Over the last few years he has worked with, among others, Thomas Hengelbrock and his Baltasar Neumann Ensemble, Jordi Savall and his Hesperion XXI Ensemble, and Giovanni Antonini and Luca Pianca and their Il Giardino Armonico.
American soprano Mardi Byers plays Marie. A native of Colorado, she made her international debut as 'Tosca' in Lübeck and Elisabetta in 'Don Carlos' in Wiesbaden and Basel. She has also sung Donna Anna and Suor Angelica at the New York City Opera, as well as Elisabeth in 'Tannhäuser' and Ariadne. The Proms audience saw her in Mahler 8 in 2010 with Jiri Belohlavek.
Greek conductor Teodor Currentzis directs the Bolshoi Theatre Orchestra and Chorus. Artistic director of the Perm Opera and founder and musical director of the Musica Aeterna ensemble, Currentzis is now to be seen in the world's leading venues: the Opéra de Paris, Opernhaus Zurich, Bayerische Staatsoper Munich, the Royal Opera House Covent Garden and the Teatro Real in Madrid.
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kr 199 (kr 299)
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Un giorno di regno
Loconsolo, Porta, Antonacci, Marianelli, Magrì, Bordogna
Orchestra e Coro del Teatro Regio di Parma / Donato Renzetti
Staged by Pier Luigi Pizzi
Bonus: Introduction to the opera
Un giorno di regno is the rare case of a musical comedy by Verdi. But his second stage work proved a complete fiasco when unveiled at La Scala, Milan, in 1840 and more than half a century was to pass before he attempted a second comedy with his final opera, Falstaff. Today, conversely, Verdi's early melodrama giocoso enjoys increasing popularity thanks to its wellspring of musical ideas and effervescent melodies.
"This is how Verdi should be played"
Frankfurter Allgemeine Zeitung on Tutto Verdi
NTSC
Region Code 0
Picture Format: 16:9, HD
Sound Format: DVD: DTS 5.1, PCM 2.0
Running Time: 129 minutes (Opera 119 minutes, Bonus 10 minutes)
Booklet: English, German, French
Subtitles: Italian (original language), English, German, French, Spanish, Chinese, Korean, Japanese
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kr 199 (kr 299)
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Roberto Devereux (DVD)
In the last and most dramatic aria in “Roberto Devereux,” one of the four Tudor period operas composed by Donizetti in 1837 (along with “Anna Bolena,” “Maria Stuarda,” and “Il Castello di Kenilworth,”) the protagonist, Queen Elizabeth I of England, exclaims: “I do not reign, I do not live.” This statement encapsulates great operatic themes, and it is the culmination of an opera that reveals the passions of characters who live among palace intrigues. Written in the mature period of the leader of Italian romanticism, the opera displays a great vocal virtuosity, and is an example of Donizetti prizing the voice above all in the genre. The staging, by South African director Alessandro Talevi, who has been very successful in great opera houses as well as with more experimental theatre, places the play in an undetermined period, focusing on the chiaroscuro. Bruno Campanella conducts the production with Mariella Devia in the lead. “This was a most promising start to the season, a first-class rendition of a neglected work and a joyful confirmation of Mariella Devia’s well-deserved place in bel canto history.” (Bachtrack.com)
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kr 199 (kr 299)
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Don Giovanni
Stage direction: Dmitri Tcherniakov
Costumes: Dmitri Tcherniakov & Elena Zaitseva
Lighting Gleb Filshtinsky
Festival d'Aix-en-Provence - 07/2010
Bo Skovhus [Don Giovanni]
Kyle Ketelsen [Leporello]
David Bizic [Masetto]
Colin Balzer [Don Ottavio]
Marlis Petersen [Donna Anna]
Kristine Opolais [Donna Elvira]
Kerstin Avemo [Zerlina]
Anatoli Kotscherga [Il Commandatore]
English Voices / Freiburger Barockorchester
Louis Langrée
A new 'Don Giovanni' in Aix from renowned Russian stage director Dmitri Tcherniakov, awarded best director at the International Opera Awards 2013, and conductor Louis Langrée.
More than two centuries after its creation, the emotional pull of this supreme opera remains absolutely intact. Dmitri Tcherniakov duly revisits the myth and makes the seducer of Seville a 'man without qualities', a cipher whose words have a hypnotic power over women. His words will disrupt the proprieties ruling the Commandatore's family. His words are also what makes Don Juan such a subversive figure and the embodiment of one of the most powerful modern European myths.
Leading the Freiburg Baroque Orchestra is one of the best Mozart conductors, Louis Langrée. Bo Skovhus portrays a dispirited Don Giovanni, old playboy and anti-hero. Kyle Ketelsen is his servant Leporello, currently a shoe-in for this rôle.
The superb female trio is composed of Marlis Petersen (Donna Anna), Kristine Opolais (Elvira) and Kerstin Avemo (Zerlina).
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kr 199 (kr 349)
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Tosca
Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi
Chorus and Orchestra of the Royal Opera House / Antonio Pappano
Tosca: it is opera, it is Italy. It is desire, passion and murder...
Featuring opera superstars Angela Gheorghiu, Roberto Alagna and Ruggero Raimondi, with musical direction by the world-renowned Antonio Pappano.
Prestige of official selection at Venice Film Festival, a comprehensive and successful commercial run in cinemas and outstanding critical acclaim.
10th anniversary special edition, with exclusive DVD bonus features including a new 10th anniversary interview with soprano Angela Gheorghiu, a collector's booklet and a "Costume Design" featurette plus original 2001 interviews with Angela Gheorghiu on her role as Tosca, director Benoît Jacquot on creating Tosca as film and Antonio Pappano on Puccini's music for the opera.
"brings this opera vividly to life... this is a classic of the future" The Guardian
"gripping and very well sung" Opera Now
"superb" Gramophone Magazine
"Gheorghiu gives a performance that cuts to the core of Puccini's tragedy... Pappano's conducting; a rich reading that conjures the ideal mixture of syrup and bitterness" Independent on Sunday
Audio: Dolby Stereo & Optional 5.1
Aspect Ratio: 1.85:1
Feature Running Time: 120 mins
Italian with optional English subtitles
Bonus Features Running Time: 41 mins
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kr 149 (kr 239)
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L'Orfeo
...With his new production for NETHERLANDS OPERA of Orfeo, Pierre Audi has completed a well-received cycle of Monteverdi’s major stage works. On stage we saw the usual Audi juxtaposition of elements: some vast tree trunks, a stone wall, an immense round pond, and later, fire. The prologue was magnificently sung by the counter-tenor David Cordier as La Musica. … The chorus sang with such spirit and refinement that one regretted that they did not have more to do. … Stephen Stubbs, seconded by Emmanuelle Haïm playing various keyboard instruments, led his ensemble Tragicomedia with obvious affection and understanding. All the instrumentalists played with fluent ease, a long way from the scratchy ‘authentic’ bands of 20 years ago...
(Opera)
Ljudformat: DTS Surround Sound, LPCM-stereo
Bildformat: 16:9
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kr 248 (kr 349)
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Carmen
From the Glyndebourne Opera House...
An exhilarating new Carmen from Glyndebourne. Director David McVicar describes Carmen as "the first ever musical", and in his new production, with Anne Sofie von Otter in the title role, Carmen is restored to the original Opera. Comique as Bizet wrote it, stripping away subsequent re-workings which turned it into a grand opera. Philippe Jordan makes his Glyndebourne debut with the London Philharmonic Orchestra, the Glyndebourne Chorus and a cast that includes Marcus Haddock, Laurent Naouri and Lisa Milne. This double disc set also includes extensive extra features on costume, dance, characters and the gardens of Glyndebourne.
Anne Sofie von Otter, Marcus Haddock Laurent Naouri, Lisa Milne
Glyndebourne Chorus / London Philharmonic Orchestra / Philippe Jordan
Stage Director David McVicar
TV Director: Sue Judd
Penguin Guide - 3 stars
Diapason d'Or
DVD BEST BUY - Classic fM Magazine
DISCS OF THE YEAR 2003 - Musicweb
Regions: NTSC
Picture Format: 16:9 / 4:3
Sound Type: DOLBY SURROUND / LPCM STEREO
Subtitles: EN
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kr 298 (kr 399)
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Wozzeck (BD)
Christian Gerhaher (Wozzeck)
Gun-Brit Barkmin (Marie)
Philharmonia Zürich, Chor der Oper Zürich / Fabio Luisi
Andreas Homoki, Stage Director
The soldier Wozzeck (Christian Gerhaher) flits through a world that he is unable to decipher. The doctor torments him with absurd medical experiments; the captain humiliates and ridicules him. And Wozzeck’s lover, Marie (Gun-Brit Barkmin), with whom he has a child, cuckolds him with the drum major. Wozzeck becomes a murderer, stabbing Marie to death. Georg Büchner’s drama fragment, on which Alban Berg based his first opera, is an unflinching case study of social injustice and human suffering. But it is also a grotesque piece that thrives on exaggeration – and in which only a fine line separates the unfathomable from the ridiculous. Accordingly, director Andreas Homoki forgoes all realism. His nightmarishly radical production is inspired by puppet theatre. Christian Gerhaher’s role début as Wozzeck can only be described as sensational: his capacity for vocal and dramatic subtlety is simply breath-taking. At the rostrum of the Philharmonia Zurich, Fabio Luisi explores both the expressionistic and the more intimate aspects, reminiscent of chamber music, in Berg’s seminal score.
Picture Formats: 16:9 NTSC, FULL HD
Sound Formats: PCM Stereo, DTS HD Master Audio
Running time: 100:58 min
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kr 279 (kr 389)
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Wozzeck
ARTISTIC QUALITY: 10
SOUND QUALITY: 10
(CLASSICSTODAY.com)
Calixto Bieito’s controversial but visually stunning production of Wozzeck is set in a grisly, chaotic, post-industrial maze, giving a contemporary edge to the disturbing and hair-raising intensity of Alban Berg’s expressionistic masterpiece. The all too human drama is emphasised, with terrifying beauty, by the stupendous cast of singing actors with the Orchestra and Chorus of the Gran Teatre del Liceu, producing a strong, relentless musical experience under the inspired baton of maestro Sebastian Weigle.
Wozzeck: Franz Hawlata
Marie: Angela Denoke
Drum Major: Reiner Goldberg
Margret: Vivian Tierney
Doctor: Johann Tilli
Captain: Hubert Delamboye
Andres: David Kuebler
Plus
Documentary, including interviews with Sebastian Weigle & Calixto Bieito
Illustrated synopsis & cast gallery
Reviews
‘The quite sensational Chorus and Orchestra, revealed a world-class theatre company, with a conductor London should book soon. Sebastian Weigle read the score with suavity, so that it seemed as if Wozzeck was more than a little influenced by Mahler; and how thankful I felt for that ingratiating, mellow and fierce sound!’
(Musical Opinion)
‘…it is a very theatrically effective, coherent production.’ (baybuzz.com)
PICTURE FORMAT: 16:9
SOUND: DTS 5.0
LENGTH: 129 Mins
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kr 198 (kr 299)
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Bohème (La)
Teodor Ilincai (Rodolfo), Hibla Gerzmava (Mimì), Gabriele Viviani (Marcello), Inna Dukach (Musetta), Kostas Smoriginas (Colline), Jacques Imbrailo (Schaunard), Jeremy White (Benoit), Donald Maxwell (Alcindoro)
Royal Opera Chorus & Orchestra of the Royal Opera House, Andris Nelsons (conductor) & John Copley (director)
John Copley's enduring production of one of the most famously melodious and popular of all operas is a classic of the Royal Opera repertory. With historically accurate designs by Julia Trevelyan Oman and an excellent cast headed by Hibla Gerzmava and Teodor Ilincai, this 2009 revival, in which conductor Andris Nelsons makes a distinguished Royal Opera House debut, does full justice to Puccini's masterpiece. Filmed in High Definition and recorded in true surround sound.
"[Ilincai] gave a thoroughly assured and engaging performance. ... Sumptuously sung, Gerzmava's portrayal was sensitive and well-rounded - timid yet warm and attractive in her first scene with Rodolfo, intimate rather than melodramatic in her final death-bed moments." Classical Source
Extra features:
Cast gallery
Interview with Jonathan Copley
Interview with Andris Nelsons
Running time 121 mins
Region code All regions
Video codec: AVC/MPEG-4
Disc size: BD50
Picture format 1080i High Definition / 16:9
Sound format 2.0 LPCM & 5.1 DTS-HD Master Audio
Menu language EN
Subtitles EN/FR/DE/ES/IT
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kr 198 (kr 299)
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Cosi fan tutte
Recorded at the Teatro Real de Madrid, 2013
Anett Fritsch (Fiordiligi),
Paola Gardina (Dorabella),
Kerstin Avemo (Despina),
Juan Francisco Gatell (Ferrando),
Andreas Wolf (Guglielmo),
William Shimell (Don Alfonso)
Chorus and Orchestra of the Teatro Real de Madrid
Sylvain Cambreling, conductor
Staged by 2013 Oscar winner Michael Haneke. Michael Haneke´s film "Amour" won an Oscar for best foreign-language film, the film too won 4 Césars, Palme d´Or (Cannes) and a Golden Globe. Great reviews about the staging, the performance and the singers.
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kr 149 (kr 239)
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Serenade to Music
"Profoundly moving"
(Gramophone)
Corydon Singers
English Chamber Orchestra
Matthew Best, conductor
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kr 129 (kr 169)
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Cello Concertos
Nicolas Altstaedt, cello
Arcangelo / Jonathan Cohen
The unpredictable and ‘fantastical’ qualities which are so fundamental to the music of C P E Bach are here given free rein by Nicolas Altstaedt, aided and abetted by Jonathan Cohen and Arcangelo in performances of astonishing brio.
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kr 109 (kr 169)
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St Matthew Passion (CD version)
«For kjærligheten til Bach og Guds herlighet» skriver René Jacobs i CD-teksten til sin innspilling av Matteus pasjonen . Mange vil bli overrasket over den utenom jordlige sanseligheten og umiddelbarheten ved Jacobs sin innspilling. Dens blanding av drama, korsang og meditasjon er forbløffende vedvarende i sin skjønnhet . Rett og slett en ny fantastisk CD fra Jacobs stødige hender. Dette er en oppvisning av sangere her som Johannes Weisser (Jesus), Werner Gura , Bernarda Fink, Topi Lehtipuu og Konstantin Wolff.
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kr 98 (kr 169)
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Entführung aus dem Serail (Die)
Mari Eriksmoen (Blondchen), Robin Johannsen (Konstanze), Maximilian Schmitt (Belmonte), Julian Prégardien (Pedrillo), Dimitry Ivashchenko (Osmin), Cornelius Obonya (Bassa Selim)
RIAS Kammerchor & Akademie für Alte Musik Berlin / René Jacobs
The 1782 premiere in Vienna of 'Die Entführung aus dem Serail' was an unprecedented success. This dazzling triumph was enhanced by a libretto celebrating and counter to contemporary prejudices concerning the Ottoman Empire. Mozart gave an important place to the spoken dialogue, often severely cut, but fully restored and brought to life here by René Jacobs in the culmination of his Mozart opera recordings for harmonia mundi.
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kr 198 (kr 289)
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Swan Lake (Complete)
This is the second instalment in our series devoted to Tchaikovsky's three great ballets. The first recording, of The Sleeping Beauty, was praised upon its release, described by a reviewer in American Record Guide as 'one of the finest I've heard'. Here Neeme Järvi and the Bergen Philharmonic Orchestra present the complete version of Swan Lake, with the pre-eminent James Ehnes lending his magic to the violin solos. This was Tchaikovsky's first full-length ballet, but its premiere in 1877, staged at Moscow's Bolshoy Theatre, was by no means a resounding success. According to most accounts, the choreography was inept, the shabby sets and costumes were borrowed from other productions, and the orchestral playing was poor. Most ballet companies today base their productions on the 1895 revival by the distinguished choreographer Marius Petipa. Although this revival has been seen as more 'danceable', one may argue that the overall cuts and reordering ultimately destroyed Tchaikovsky's ground plan of drama and tonality. Here we present Tchaikovsky's original Bolshoy score of twenty-nine numbers across four acts, along with two supplementary numbers which Tchaikovsky provided not long after the premiere.
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kr 49 (kr 169)
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The Ghosts of Versailles
Victoria Livengood, So Young Park, Vanessa Becerra and others.
LA Opera Orchestra & Chorus / James Conlon
Commissioned by the Metropolitan Opera to celebrate its 100th anniversary, John Corigliano’s The Ghost of Versailles received its premiere at the Met in 1991, twelve years after it had been commissioned and eight years past the centennial season for which it had first been envisioned. Nonetheless, it was an instant success. Because of the unique situation, a large cast and extravagant orchestral forces were made available, but aside from that specific context, both John Corigliano and librettist William Hoffman conceived of Ghosts as a work of music theater that celebrates and even takes as one of its principal themes the artistic power of opera: it puts into use lavish operatic resources precisely to introduce a contemporary audience to grand opera.
More particularly, a ”grand opera buffa” is what John Corigliano decided to create, to combine his love for opera buffa, with the requirements of a grand opera house, which is the Met. The success of Ghosts resulted in many performances throughout the North- American continent in the 25 years to follow, one of which took place in February 2015 at the LA Opera, to great critical acclaim.
“It's comic and serious, entertaining and erudite, silly and thoughtful, emotional and mysterious, harrowing and uplifting, intimate and over-the-top — and the more times you see it, the more you'll find in it and the more you'll get out of it.” Los Angeles Times
Conducted by James Conlon, the production was recorded live by the renowned Soundmirror recording company and will now be released on a splendid 2-SACD album as part of PENTATONE’s newly launched American Opera Series.
“The artists of Los Angeles Opera’s 2014 production made as compelling a case for The Ghosts of Versailles as I heard on its first night at the MET in 1991. To have that performance preserved in a recording of this quality is, for this composer, a dream come true.” John Corigliano
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kr 249 (kr 359)
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Hans och Greta
Inspelning från 1953, med Philharmonia Orchestra under ledning av Herbert von Karajan, av Engelbert Humperdincks opera "Hans och Greta". I en av rollerna kan vi höra sopranen Elisabeth Schwartzkopf.
Elisabeth Grummer, sopran;
Elisabeth Schwartzkopf, sopran;
Josef Metternich, baryton;
Maria von Ilosvay, alt;
Else Schurhoff, mezzosopran;
Anny Felbermayer, sopran.
Bancroft's School Choir; Loughton High School for Girls Choir; Philharmonia Orchestra / Herbert von Karajan.
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kr 90 (kr 149)
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Violin Concertos
This is the world première recording of Johan Halvorsens recently rediscovered Violin Concerto. Less well-known as a composer than Carl Nielsen, Halvorsens chamber music (8572522) has been described as delightful (American Record Guide) and effervescent though occasionally darkly hued (Fanfare). Described as tremendously beautiful by its original soloist, this once acclaimed concerto in the tradition of Grieg was long thought to have been lost, its score burned by the composer. Its rediscovery is bound to create a buzz amongst musicians and connoisseurs alike. Brilliant violinist Henning Kraggeruds affection for his native Norwegian composers is well established in Naxos recordings such as his strikingly successful (Gramophone) arrangements of Griegs sonatas with orchestra (8573137), his two volumes of works for violin and piano by Christian Sinding (8572254 and 8572255) and a Sibelius Violin Concerto (8557266) described as a masterly performance by Edward Greenfield in the Gramophone.
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kr 49 (kr 89)
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Piano Sonatas Vol 4
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kr 29 (kr 79)
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German Dances
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kr 79
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Don Quixote (Complete Ballet)(2 CD)
Flera tonsättare har skrivit verk som inspirerats av Miguel Cervantes novell "Don Quixote", bl a Telemann, Ravel och Richard Strauss. Här kan vi höra en tonsättning av "Don Quixote" av den österrikiske tonsättaren Léon Minkus, som större delen av sitt liv var verksam i Ryssland. Han hade ett långt och framgångsrikt samarbete med koreografen Marius Petipa, för vilken Minkus skrev över femton baletter, bl a den kända "La Bayadère".
Sofia National Opera Orchestra / Nayden Todorov.
Don Quixote
(Balett i tre akter, originalversion från 1869)
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kr 110 (kr 159)
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West Side Story (Original Score)
"...Kenneth Schmererhorns ensemble håller precis den ungdomlighet och direkthet som krävs för att man ska tro på vad som sägs och sjungs"
"Mike Eldred gör den Tony jag alltid har längtat efter, ung och streetsmart, med en jazzig musikalitet som förflyttar mig till New Yorks bakgator på nolltid"
(Dagens Nyheter)
'...It's good to have this complete Naxos recording of West Side Story. It's very well cast with an ardent and smooth-voiced Mike Eldred as Tony, and Betsi Morrison, a fragile, heartbreaking Maria. The playing of the Nashville Symphony Orchestra and the conducting of Kenneth Schermerhom are exemplary...'
(Fanfare)
"West Side Story" är Leonard Bernsteins (1918-1990) mest kända verk, men det finns förvånansvärt få inspelningar. Bernstein gjorde 1984 en själv, men den led dessvärre av svårartad elefantiasis och hade världens äldsta tonåringar i huvudrollerna. Det var ett misslyckat försök att placera "West Side Story" i operans värld. Vår inspelning hör alldeles självklart hemma på Broadway. Sångarna är unga friska förmågor, som gör denna moderna version av "Romeo och Julia" trovärdig. Hela produktionen har en entusiasm och vitalitet som är ganska oemotståndliga. "Maria", "America", "Tonight", "Somewhere", "Gee Officer Krupke" och alla de andra låter som aldrig förr!
Betsi Morrison, sopran;
Mike Eldred, tenor m fl.
Nashville Symphony Orchestra / Kenneth Schermerhorn.
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kr 30 (kr 89)
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Piano Concerto Nos. 1 & 3
Den inledande satsen i Tjajkovskijs första pianokonsert, med sina mäktiga ackord, är nog den mest kända musiken inom denna genre. Här kan vi höra den hyllade ryske pianisten Konstantin Scherbakov framföra detta mästerverk. Scherbakov, som vann den prestigefyllda Rachmaninov-tävlingen 1983, har kallats "en ny Rachmaninov".
Konstantin Scherbakov, piano.
Russian Philharmonic Orchestra / Dmitry Yablonsky.
Peter Tjajkovskij
Pianokonsert nr 1 b-moll Op 23
1. Allegro non troppo e molto maestoso - Allegro con spirito
2. Andantino semplice - Prestissimo - Tempo I
3. Allegro con fuoco
Pianokonsert nr 3 Ess-dur Op 75
4. Allegro brillante
Andante och Final Op 79 (orkestrering S. Taneyev)
5. Andante
6. Allegro Maestoso
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kr 29 (kr 49)
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Violin Concertos Nos. 3, 4 & 5
Henning Kraggerud, violin
Norwegian Chamber Orchestra
Mozart wrote his Violin Concertos in 1775 while still living in his home town of Salzburg and in service to Prince-Archbishop Hieronymus Colloredo. Mozart had already toured internationally and found his parochial environment restricting, but as ever he rose above circumstances to create sublime and thrillingly unconventional masterpieces filled with wit and charm. The finely sustained melodic expression of each concerto’s slow centre provides the perfect foil for inventive sparkle in outer movements that include a cheeky reference to the opera Il re pastore in K. 216, and an exotic ‘Turkish’ moment in the finale of K. 219.
HÖGSTA BEYG I DN (5 av 5): "Den som besöker Salzburg kan lätt få samma flyktimpulser som den unge Mozart fick när man blickar upp mot det mäktiga biskopspalatset. En byggnad från vilken biskopens polischef kunde se exakt allt som hände i staden. När Henning Kraggerud och hans briljanta orkester nu tar sig an tre av Mozarts violinkonserter ger de denna tonårsmusik just den oro i steget som gör att den säger något mer än att bara slösa med sina geniala infall. Med härligt nytänkande får de Mozart att sjunga och dansa som såg vi honom skaka av sig all världens auktoritära tyngder. Och göra sig osynlig för dess dömande blickar. En befriande narraktighet, med plötsliga stråk av svärta, som även gjorde dessa konserter till Astrid Lindgrens favoritmusik."
Martin Nyström (DN)
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kr 49 (kr 89)
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3CD-BOX: Don Giovanni
ÅRETS BÄSTA 2007 I DAGENS NYHETER & SYDSVENSKAN
GRAMOPHONE EDITOR'S CHOICE /
RECORDING OF THE MONTH
HÖGSTA BETYG I SVENSKA DAGBLADET
HÖGSTA BETYG I DAGENS NYHETER
HÖGSTA BETYG I GÖTEBORGS-POSTEN
OPUS REKOMMENDERAR
HÖGSTA BETYG I MOTALA TIDNING/NERIKES ALLEHANDA/VADSTENA TIDNING
4 AV 5 MÖJLIGA I BETYG I SYDSVENSKAN
4 AV 5 MÖJLIGA I BETYG I UPSALA NYA TIDNING
ARTISTIC QUALITY: 10
SOUND QUALITY: 10
(CLASSICSTODAY.com)
"Samtliga sångare är utsökta"
"Ljudet är sensationellt med perfekt balans mellan röster och orkester"
(Opus)
"...årets höjdpunkt på den musikdramatiska himlen. Klarhet, det personliga tilltalet och den musikaliska intelligensen är bedövande"
(Norrköpings Tidningar)
"Lika härliga som de tidigare inspelningarna av "Figaros bröllop" och "Cosí fan tutte".
(Landskrona-Posten)
If there is one thing that marks out René Jacobs's approach to Mozart, it is the way he constantly asks himself questions - and the specifically musical brilliance of the answers he comes up with. The success of his recent version of La clemenza di Tito is proof of that! After Così fan tutte and Le nozze di Figaro, his recording of this centrepiece of the Mozart/Da Ponte trilogy offers us the latest fruits of his reflections on Classical opera. Premiered at the 2006 Innsbruck Festival and recorded shortly afterwards, this production is nourished by his thoughts on Don Giovanni as taboo-breaker and on a 'physiology of roles' that respects Mozart's intentions as nearly as possible.
Also available on Super Audio CD: HMC 801964
DON GIOVANNI: Johannes Weisser,
LEPORELLO: Lorenzo Regazzo,
DONNA ELVIRA: Alexandrina Pendatchanska,
DONNA ANNA: Olga Pasychnik
RIAS Kammerchor; Freiburger Baroque Orchestra/René Jacobs
'Simon Keenlyside had been pencilled in for the title-role for this recording, with Johannes Weisser only playing it in the warm-up live performances. Apparently, however, conductor René Jacobs was so impressed with his young baritone that he got the gig, as they say. No Giovanni can fully encompass every aspect of this multi-faceted role but (and I know I am even more enthusiastic about him than our reviewer, Richard Wigmore) I feel that he has reinvented the role for our age. Weisser is young, only 26 when this was recorded, and sounds it. If his tone sounds a touch callow, that is actually an advantage for a Don who here is presented as utterly narcissistic, shallow in every respect except his deeply felt love for himself. He is not evil, just spoilt. Doubtless thanks to those live performances, the cast feel like a played-in ensemble and they create real drama and genuine comedy (graced by some of the most sparkling recitative accompaniments you will hear). Three cheers for someone having the sense to record Kenneth Tarver’s graceful, agile Ottavio. And, despite the odd pipey moment from Pendatchanska’s impassioned Elvira, there are no real weak links.'
(Gramophone)
"Kan en "Don Giovanni" där den handlingsförlamade fästmannen och adelstönten Don Ottavio fått huvudrollen vara nåt att lyssna på? Tenorrollen som man på de mest sarkastiska vis alltid gjort narr av? Som i Joseph Loseys filmatisering där han ena gången får sjunga enbart för ett helt öde flodlandskap och andra gången för högar av totalt utslagna festdeltagare. Men i den belgiske mästerdirigenten René Jacobs nya tolkning av "Don Giovanni" behöver Don Ottavio inte längre sjunga för döva öron. En inspelning som kröner Jacobs redan oöverträffade serie av Mozartperor ("Figaros bröllop" och "Cosi fan tutte"). Och som är lika ljuvligt musikalisk som den är idémässigt utmanande. Självklart inte bara för att den lanserar en ny syn på Don Ottavio, utan för att den ställer hela operan i ett nytt ljus. Inspelningen presenterar en lysande ensemble med ungdomligt lätta röster som tillåts broderar sina arior med sällsynt frihet - när de inte helt släpps lös i ensemblenumrens närmast gatu-kakafonisk pratsjungande. I spetsen och i rollen som Don Giovanni hör vi en lite rå och kameleontiskt ombytlig Johannes Weisser. En farlig men misslyckad tabuöverskridare. Och blankt anonym som vore han en gästartist i sina egna låtar. Med denna gestaltning gör Jacobs upp med romantikens syn på Don Giovanni som sensuellt och erotiskt geni och låter honom istället framstå som det frågetecken som Mozart kanske tänkt sig. Freiburger Barockorchester är en furiös soundmaskin som redan i uvertyren etablerar ett makalöst tryck och ett hisnande växelspel mellan mörker och ljus, lätthet och tyngd. Och som i första aktens final skapar känslan av ett mörkt virvlande kaos av branta temposkiften och spöklika dansfragment. Stundtals går det inte att urskilja harmonierna - till förmån för en rent vidunderlig klanglig och rytmisk intensitet. Jacobs dirgentkonst har i dag ett toscaniniskt bett i accenterna och en furtwänglersk frihet i förhållande till grundpulsen. Det låter som att han gör precis som han vill med detta partitur. Liksom Giorgio Parunuzzi på sitt pianoforte i rectativen. Hans stumfilmspiano i kyrkogårdsscenen är ett måste! Men hur var det nu med Don Ottavio? Jo, det som gör "Don Giovanni" till ett så mångtydigt verk är hur Mozart fört samman sin samtids två motsatta koder inom operan spel. Hur han konfronterar det "höga" hos opera seria-stilen med det "låga" hos opera buffa-stilen. Och utan att alltid bry sig om var gränserna går. För en jämförelse i dag: Tänk er komedin "Göta Kanal" där man bytt ut halva besättningen och ersatt den med Ingrid Thulin och Gunnar Björnstrand, Erland Josephsson och Liv Ullman. En "Göta Kanal" med Ingmar Bergmans tystnader i båten - mitt i all pratsjuk action. Där har ni ungefär Don Ottavios och hans monologiskt allvarsamma adelsvänners sits i den för övrigt dialogiskt skämtsamma "Don Giovanni". Men istället för att se Don Ottavio som en representant för det högstämda och aristokratiskt förgågna gör Jacobs honom till en modern gestalt. Till ett uttryck för den så kallat "känslosamma stil" som gjorde sig allt starkare i musiken inom radikala borgerliga kretsar i slutet av 17oo-talet. En framtidsman med sin gränslösa omsorg, sitt obönhörliga sanningskrav och med sin emotionella drive. Att höra den fenomenale tenoren Kenneth Tarver i denna så oftade förlöjligade älskarroll är att acceptera att orden: "Jag skulle inte kunna leva utan dig" kanske är det mest utmanande som sägs i hela denna opera."
(Martin Nyström, Dagens Nyheter)
Wolfgang Amadeus Mozart
Don Giovanni
Opera in two acts
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kr 199 (kr 269)
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Piano Concerto & Peer Gynt
This much awaited recording offers keenly idiomatic performances of the most famous works by Grieg, played by the composer’s own orchestra, the Bergen Philharmonic, and its Chief Conductor, Edward Gardner. The drama and passion of such favourite pieces as the incidental music to Peer Gynt and the Piano Concerto are superbly captured in surround-sound with exemplary Chandos sound quality. Unlike most existing recordings, offering only the orchestral suites, this disc presents numerous extra excerpts from Peer Gynt, which follow the sequence of Henrik Ibsen‘s dramatic poem, including sections for the unique Norwegian 'Hardanger Fiddle’. Having collaborated with the orchestra on several occasions, Jean-Efflam Bavouzet is the soloist in the Piano Concerto, a piece that stands out as a shining example of a single great thought captured and expressed in music. The power of this conception is evident throughout the concerto in the pianist’s faithful, yet highly romantic interpretation.
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kr 108 (kr 169)
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Bach, Bartók, Boulez: Michael Barenboim
Conceived like a solo recital, Michael Barenboim's first solo album features the works of three composers that have had a profound impact on his musical upbringing. On paper, these pieces could not seem any more different, but together they create an unexpectedly astonishing listening experience. J. S. Bach’s Sonata No. 3 for solo violin demands the greatest artistic and technical skills of the violinist and yet its melodic simplicity remains unmatched in its beauty. Béla Bartók’s Sonata Sz.117 was clearly inspired by Bach’s works for solo violin, carrying Bach’s ideas into the music of the 20th century. Filled with contrasts and yet bearing a uniquely poetic aura, the work is equally demanding for the violinist - if not more so - as the Bach. Finally, in his "Anthèmes", Pierre Boulez explores the boundaries of what can actually be played on the violin. The abstractness of Boulez's "Anthèmes 1" is surpassed by "Anthèmes 2", where live electronic elements that Boulez helped to develop at the IRCAM studios in Paris are added into the music. These two works create an entirely new sonic experience that serves as a musical frame for this exceptionally unique and extraordinary recording.
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kr 99 (kr 159)
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Sciarrino, Tartini, Berio, Paganini
After his debut solo album with music by Bach, Bartók and Boulez, Michael Barenboim’s second album is also dedicated to works for solo violin and features compositions by Salvatore Sciarrino, Giuseppe Tartini, Luciano Berio, and Niccolò Paganini, sketching a short history of Italian solo violin literature. The four works seem very heterogenous at first glance but what unites them is their rich technical and stylistic spectrum. The juxtaposition of traditional and contemporary music works creates an inimitable sound cosmos and makes the works by Tartini and Paganini sound incredibly modern alongside 20th-century music. Michael Barenboim creatively navigates the sometimes obsessive and diabolical elements of the works and creates an inspired and unique interpretation. Recorded at the Jesus-Christus-Kirche Berlin. June 2017
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kr 99 (kr 159)
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La Traviata (DVD)
Star tenor and director Rolando Villazón’s staging of La Traviata at the Festspielhaus in Baden Baden is “visually spectacular” (The Huffington Post) and made for “an enthusiastic reception for the premiere” (Stuttgarter Zeitung)! Villazón “proves again his excellent narrating skills on stage” (WDR Klassik). “The setting and opulence of the stage captivates the spectator, as do the stylized costumes designed by Thibault Vancraenenbroeck for circus artists” (Stuttgarter Zeitung). Olga Peretyatko as Violetta delivers “a fantastic portrait of the title role wavering between adolescent joie de vivre, mature insight and anguish” (Stuttgarter Zeitung). Her partner is the tenor Atalla Ayan as the jealous Alfredo, who delivers a “beguiling interpretation with a dark, warm timbre and rich top notes” (Stuttgarter Zeitung). Simone Piazzolla as Alfredo’s strict father Giorgio Germont adds fine vocal lines to provide a strong sense of “Italianità” on stage (Neue Zürcher Zeitung). Conductor is Pablo Heras-Casado, “a great hope of a new generation of conductors” (WDR Klassik).
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kr 199 (kr 299)
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Elliott Murphy
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kr 89 (kr 149)
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Håp
Hemsedal Barnegospel er et helt unikt barnekor. I den lille bygda Hemsedal har de fleste barna mellom 2.-7.klasse vært med I koret gjennom de siste 30 åra! Barnegospelkoret har vært en "brobygger" I bygda, der barn tilknyttet flere samfunnslag og livssyn har hatt en felles arena. På albumet "Håp" er det hele 125 barn som synger, og de formidler sangglede og budskapet på en troverdig måte.
Kjellaug Solbakken, som har skrevet og arrangert låtene, har sammen med ektemannen Alf Erik ledet koret i disse 30 åra, og sammen med Hemsedal Skisenter blir koret trukket frem som et av kjennetegnene ved skibygda.
Musikalsk lever koret i en verden av blues og rock, hvor sarte ballader og sanger med røtter i salmetradisjonen går hånd i hånd med låter med fullt trøkk. Platen fremstår som ukommersiell og med et voksent preg, takket være arrangementene og et fantastisk band, i tillegg til de 125 sangerne. Tekstene bærer preg av forståelse for hva barn er opptatt av, om tro og trygghet, sårbarhet, engasjement og livsglede, og med av alt: Håp!
Kjellaug skriver tekster både på nynorsk og bokmål, og broker et poetisk og metaforisk språk. "Håp" er Hemsedal Barnegospel sin aller siste CD, og vi vet at denne vakre og varierte platen vil berøre lytterne på en helt spesiell måte.
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kr 79 (kr 139)
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In Our House
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kr 89 (kr 149)
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Martin Fröst plays Brahms
Martin Fröst, clarinet
Janine Jansen & Boris Brovtsyn, violins
Maxim Rysanov, viola
Torleif Thedéen, cello
Roland Pöntinen, piano
Janine Jansen appears courtesy of Decca Classics
HÖGSTA BETYG "Kan vara den vackraste Brahms-skiva som gjorts" Martin Nyström (DN)
BETYG 5 AV 6 "Martin Fröst gör Brahms med känsla för tajming" (SvD)
Johannes Brahms's Clarinet Quintet is core repertoire, not just for clarinettists but also in the entire chamber music genre. As such, it has been on Martin Fröst's 'to-be-recorded list' for a long time, and when he gathered a dream-team of string players for a concert in Stockholm in February 2013, it was the perfect opportunity for BIS to organize a recording session. Brahms's Quintet was written in 1891 by a composer who only a year previously had renounced composing, but whose creative urge had been reawakened by his encounter with the leading clarinettist of the time, Richard Mühlfeld. Some 120 years later, Fröst - one of today's most highly regarded musicians and the recipient of the 2014 Sonning Prize - steps into Mühlfeld's shoes, in the company of Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Thedéen. As a complement to this substantial work - with a duration of almost 35 minutes - Martin Fröst has transcribed six much-loved songs by Brahms, performing them with his chamber music partner of long standing, the eminent pianist Roland Pöntinen. The songs, composed between 1866-1886, range from high lyricism (Die Mainacht) to bitter-sweet nostalgia (Wie Melodien...), via the humourous Vergebliches Ständchen. To these new recordings has been added a substantial 'bonus' - Martin Fröst's performance with Pöntinen and Thedéen of the Trio for clarinet, cello and piano, which Brahms composed for Mühlfeld in the same year as the quintet. Originally released in 2005, the recording of the Trio received a warm welcome, including an Editor's Choice in Gramophone, as well as a 'Disc of the Month' on website ClassicsToday.com.
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kr 109 (kr 169)
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Plays Nordic Concertos
Martin Fröst (born 14 December 1970) is a Swedish clarinetist. He lives in Stockholm and works with the most prominent orchestras and conductors all over the world. As a dedicated Chamber Musician he is also the artistic leader of the Mora Vinterfest in Sweden and Stavanger International Chamber Music Festival in Norway.
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kr 109 (kr 169)
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Clarinet Concertos
ÅRETS BÄSTA 2007 I SYDSVENSKAN
GRAMOPHONE EDITOR'S CHOICE
HIFI & MUSIK / ÅRETS BÄSTA SKIVOR 2007
BETYG: *****
LJUDKVALITET: *****
(Opus)
'Martin Fröst and Osmo Vänskä again prove a most persuasive partnership in this latest collaboration. There is something utterly idiomatic about Fröst’s approach to the Nielsen, while he announces the Aho as a major concerto for the new century. At the same time, his unshrinking approach finds links between the two. Atmospheric and deeply absorbing.'
(Gramophone)
"...Fröst, ett fenomen..."
(Aftonbladet)
"...kombinationen Fröst-Aho suverän i Kalevi Ahos symfoniskt anlagda verk."
(Dagens Nyheter)
"Den makalöse Martin Fröst utvinner allt ur klarinettens enorma förråd av uttrycksmöjligheter. Och vilket virtuoseri sen!
(Göteborgs-Posten)
Martin Fröst’s latest releases feature the core repertoire for his instrument from the 18th and 19th centuries: the Mozart Concerto and Quintet, Brahms’s sonatas and, most recently, Weber’s concertos. All of these offerings have been singularly well received by reviewers and record buyers alike, and have contributed to Fröst’s flourishing concert career. While his concert programmes certainly include the works of Brahms, Schumann and their likes, Fröst is however also known as one of today’s most charismatic performers of contemporary music, and on this disc he shows us why. Combining two great Scandinavian works for the clarinet, from 1928 and 2005 respectively, he makes a passionate case for music as a timeless and universal means of communication. Carl Nielsen’s Concerto was one of the composer’s last works, but although Nielsen had by this time reached the status of elder statesman in Danish musical life, the work was met with consternation at its première. It has since become part of the repertoire, but as implied in a recent Copenhagen concert review, it can still misfire: ‘There are those who play Carl Nielsen’s knotty clarinet concerto from 1928 as a chunk of dogged, fragmented and rather shrill modernism. And then there are those, like the Swede Martin Fröst, who bring it off as a piece of wild and visionary leprechaun music, almost like an extraordinary breakneck improvisation.’ In marked contrast, Kalevi Aho’s Concerto, composed for Fröst some 80 years later, was immediately hailed as ‘a masterpiece’ at its première, in London in April 2005: ‘Until you've heard Martin Fröst, you really haven't heard the clarinet. This young Swedish musician becomes the clarinet. His entire body moves and breathes with the instrument - and he creates sounds the likes of which you will go a very long way to hear… It's a mark of Fröst's imagination and genius that he chose the Finnish composer Kalevi Aho to write him a clarinet concerto... a work of beguiling beauty and huge excitement’ (The Times, UK). Supporting Fröst in both works is the Lahti Symphony Orchestra under Osmo Vänskä, whose expertise in the music of both Kalevi Aho and Nielsen is well documented, in the concert hall as well as on disc.
Martin Fröst, clarinet
Lahti Symphony Orchestra/Osmo Vänskä
Carl Nielsen
Concerto for Clarinet and Orchestra
Allegretto un poco –
Poco adagio –
Allegro non troppo – Adagio – Allegro vivace
Kalevi Aho
Concerto for Clarinet and Orchestra
I. Tempestoso
II. Cadenza. Tranquillo
III. Vivace, con brio
IV. Adagio, mesto
V. Epilogo. Misterioso
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kr 109 (kr 169)
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