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Efter en hård fajt har Grammisjuryn nu utsett vinnaren i kategorin Årets klassiska skiva.

Valet föll till slut på Andrea Tarrodis "String Quartets" med The Dahlkvist Quartet, i tuffaste konkurrens med de fyra andra nominerade. Alla fem finns (naturligtvis) att beställa hos NaxosDirect.

Grammis är Sveriges äldsta och viktigaste musikpris som varje år delar ut priser i olika kategorier. Grammis arrangeras årligen av Ifpi Sverige som är de svenska musikbolagens branschorganisation. Årets Grammis äger rum den 8 februari 2018 på Grand Hôtel i Stockholm. För mer info se
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Image VINNARE 2018: String Quartets

Trots musikernas unga ålder, firar Dahlkvistkvartetten nu 10-årsjubileum i och med denna debutskiva! Hela albumet ägnas Andrea Tarrodis musik, vars tonsättarporträtt "Highlands" (dBCD166) nominerades till en Grammis 2016 i kategorin "Årets klassiska". Hennes stråkkvartett bjuder in till en alldeles speciell, drömsk musikvärld, som är lika lätt att ta till sig som den är svår att framföra.

Despite the musicians’ young age, the Dahlkvist Quartet now celebrate their 10th Anniversary with their debute CD! The whole album contains music of Swedish composer Andrea Tarrodi, whose composer portrait “Highlands” (dBCD166) was nominated for the Swedish Grammis Award 2016 in the category “Classical Album of the Year”. Her string quartets invite you to a particular, dreamy musical world, which is as easy to the ear as they are difficult to perform.

159 kr
Image NOMINERAD 2018: Loves Me...Loves Me Not...

Love plays a significant part in most operas, but all too often it is frustrated, or entangled with deception, humiliation and betrayal. With her new disc Camilla Tilling presents a near-comprehensive catalogue of the emotions that the vagaries of love can raise in the breast of an operatic heroine. And these emotions are universal and timeless, afflicting servants and countesses, Grecian princesses, a sorceress from Damascus and a young lady of 18th-century Naples alike. Gluck’s Armide glories in having Renaud in her power – until she realizes that her feelings makes it impossible to destroy him as she had planned. Newly raised from the dead, his Euridice is defenceless against the strong emotions of the living, and beset by doubts when Orpheus refuses to acknowledge her on their way back to earth. In the bravura aria Come scoglio, Mozart’s Fiordiligi proclaims her steadfast love for Guglielmo, but in the following act of the opera she regretfully admits to having been enamoured by another. And from The Marriage of Figaro we hear Susanna inviting the loved one to a nocturnal rendez-vous (‘Deh vieni, non tardar’) as well as her mistress, the Countess, wondering in ‘Dove sono’ what happened to the loving marriage she once had. With a soprano typically described as ‘radiant’, ‘vernal’ or ‘silvery’, Camilla Tilling has performed several of the roles featured here at venues such as Opéra National de Paris, Covent Garden, Salzburg Mozarteum and Drottningholm Slottsteater. On this recording she partnered by Philipp von Steinaecker and his Musica Saeculorum, whose period instruments bring out all the sweetness, pain and regret that Gluck and Mozart magically worked into their scores.

159 kr
Image NOMINERAD 2018: Flaminis aura

This composer portrait opens with Tommie Haglund’s first score for full orchestra – the cello concerto Flaminis aura. Composed in 2001 and rewarded 13 years later with Sweden’s most important composition prize, the work is in a single movement with a slow basic pulse, and thus conforms to a recurring pattern within Haglund’s production. Its Latin title describes a state immediately prior to a religious revelation, and the music forms an exploration of both the human interior and the cosmos – towards the end of the work a tape with space sounds recorded by NASA is heard: a ‘Song of Earth’. Performed by Ernst Simon Glaser and the Gothenburg Symphony, the concerto is followed by another composition from 2001, the string quartet Il regno degli spiriti, and the string trio Sollievo (dopo la tempesta). Both these works are here performed by the highly regarded string trio ZilliacusPerssonRaitinen (ZPR), joined by Julia Kretz-Larsson on second violin in the quartet. Sollievo… was composed for ZPR in 2013, and its title – ‘relief after the storm’ – refers to the end of a period of painful treatment following a back operation. With a generous playing time of close to 84 minutes, the disc closes with Serenata per Diotima from 2014, interpreted by the strings of Malmö Symphony Orchestra with substantial violin solos from Håkan Rudner. Celebrating the female philosopher of Greek antiquity, the piece was also inspired by the birth of the composer’s first grandchild.

159 kr
Image NOMINERAD 2018: Sei Solo

Sei Solo är italienska och kan översättas med ”Sex solon”
eller ”Man är ensam”. Den dubbla betydelsen var möjligen
fullt avsiktlig. När Bach renskrev manuskriptet till de tre
sonatorna och tre partitorna för soloviolin 1720 var han
nybliven änkling. Verket, med en speltid på över två timmar,
har sammanlagt 32 satser. Den 21:a av dessa är den ikoniska
ciacconan med sina 32 variationer över en ackordföljd.

Gitarristen Mats Bergström debuterade som skivartist 1986
med albumet "English Guitar Music" på skivmärket Polar. Tre
decennier och ett stort antal album senare kände han sig
redo att spela in sin egen gitarrversion av Sei Solo.

Sei Solo is Italian for “Six Solos” but also for “You Are Alone”.
The dual meaning may indeed have been intentional. When
fair-copying his manuscript to the three sonatas and three
partitas for solo violin in 1720, Bach had become a widower.
The work, with a duration of well over two hours, has a total
of 32 movements. The 21st of these is the iconic Ciaccona in
D minor with its 32 variations on a chord sequence.

The Swedish guitarist Mats Bergström made his debut as a
recording artist in 1986 with the Lp “English Guitar Music”
for the Polar Music label. Three decades and numerous
albums later he felt ready to record his own guitar version
of Sei Solo.

229 kr
Image NOMINERAD 2018: Symphony No. 14

In their series of Allan Pettersson’s symphonies, Christian Lindberg and the Norrköping Symphony Orchestra have arrived at the Fourteenth Symphony, completed in 1978 and given its first performance in 1981, one year after the death of the composer. As several of its predecessors, No. 14 is in one extended movement and is scored for large forces, including an expanded percussion section. But there are also important traits that set it apart. Pettersson, who had studied twelve-tone composition for René Leibovitz in the early 1950’s, never adopted the technique fully but in the present work the traces are more evident than in his other symphonies: the opening few bars contain all of the notes of the chromatic scale, and throughout the work Pettersson makes extensive use of compositional techniques associated with twelve-tone music. In several earlier works, Pettersson had alluded to his song cycle ‘Barefoot Songs’, but in the present symphony he quotes himself extensively – the melody of Klokar och knythänder (Wise Men and Clenched Hands) appears no less than five times in its entirety and becomes crucial to the structure of the symphony. The present disc is the sixth instalment in a series that has received distinctions such as Empfehlung (, Clef d’or 2011 (, Disco excepcional (Scherzo) and Critics’ Choice (Gramophone). Included with the new recording is a bonus DVD containing a film produced by Swedish Television after the death of the composer. In the course of the film, here provided with English subtitles, we meet the composer himself, members of his family, colleagues from his time as an orchestral player and musicians such as the violinist Ida Haendel.

159 kr
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