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DN:s musikkritiker väljer:

Här är årets bästa skivor

DN:s musikrecensenter har utsett Årets bästa skivor 2018. Många av deras jazz- och klassiska favoriter hittar du hos NaxosDirect.

Foto: CAMILLA LUNDBERG, MARTIN NYSTRÖM, JOHANNES CORNELL och JOHANNA PAULSSON
Visar 11 artiklar
Image MARTIN NYSTRÖM

1. Klassiskt: Wilhelm Stenhammar – ”Sången, etc” – Neeme Järvi och Göteborgs symfoniker

"Med fyra inspelningar av Stenhammars kör- och orkesterverk och kammarmusik, signerade Herbert Blomstedt, Christian Lindberg, Christian Svarfvar och Neeme Järvi, har skivåret 2018 varit Stenhammars. Allra främst sätter jag den sistnämndes skiva med den sällan framförda kantaten ”Sången” för två körer, fyra solister och orkester från 1921. Stenhammars kanske allra skönaste och mest hämningslösa verk."
***

The collaboration between Gothenburg Symphony, Neeme Järvi and BIS began in 1982 with the recording of Wilhelm Stenhammar’s First Symphony, originally released on vinyl and then re-released on CD in 1986. By that time, Neeme Järvi and the orchestra had already started on the many Sibelius recordings that would contribute to the team’s rise to fame. In total, the orchestra and Järvi would go on to record some 45 discs for BIS, including several with music by Stenhammar. It would however take until 2018 – 36 years after that first disc – before the opportunity arose to record that late, great work of his – the symphonic cantata Sången (The Song) for four vocal soloists, mixed choir, children’s choir and large orchestra. Because of the large forces involved, Sången is a rarity in the concert hall as well as on disc – there has only been one previous commercial recording, made in 1988. As might be expected there was a sense of occasion in the Gothenburg Concert Hall during the concert and recording of this all-Stenhammar programme – a sense of occasion that audibly comes across in this present disc. Also included are the well-loved Two Sentimental Romances for violin and orchestra with the orchestra’s eminent leader Sara Trobäck as soloist and the rarely heard suite from the music to Shakespeare’s Romeo and Juliet.



159 kr
Image MARTIN NYSTRÖM

2. Klassiskt: Hugo Wolf, Alma Mahler, Anton Webern m fl – ”Vienna: fin de siècle” – Barbara Hannigan och Reinbert de Leeuw

"Här fångas lied-traditionen när den närmar sig gränsen till det atonala. Längtans yttersta uttryck."
***

After the huge success of her first album for Alpha, Crazy Girl Crazy (Alpha 293), which received a Grammy Award, a JUNO Classical Award in Canada, the Preis der Deutschen Schallplattenkritik, FFFF in Télérama and DIAMANT in Opéra Magazine and was BBC Music Magazine CD of the Month, Barbara Hannigan is back with her long-time collaborator, the Dutch pianist and great interpreter of twentieth-century music Reinbert de Leeuw, for a recital exploring the roots of modern music, with the composers who left their mark on the turn of the twentieth century: Hugo Wolf (Mignon Lieder), Arnold Schoenberg (Vier Lieder Op.2), Anton Webern (Fünf Lieder nach Gedichten von R. Dehmel), Alexander Zemlinsky (selected lieder), Alma Mahler (Die stille Nacht etc.) and Alban Berg (Sieben frühe Lieder). From what has been called the Second Viennese School, an incredible mix of musicians, painters, writers and other artists frequenting salons and cafés, a completely new musical language was born. Barbara Hannigan is especially fond of this repertory and has long championed it. Of course, we think of Berg and his unforget-table Lulu: ‘The artist who sings’, as journalists often like to describe her, embodies this music with her legendary dramatic sense, making each of these lieder a story in itself, even a mini-opera

119 kr (159 kr)
Image MARTIN NYSTRÖM

5. Opera: Sebastian Fagerlund –  ”Höstsonaten” – Johan Storgårds och Finlands Nationalopera

"Ett drama i en hög och klar luft som skälver i sina grundvalar. Årets operainspelning."
***

A new opera by Sebastian Fagerlund based on Ingmar Bergman’s celebrated film


Sebastian Fagerlund has made a name for himself primarily through his concertos and orchestral works. As demonstrated on previous recordings, his music displays a huge range of colours and an uncommon rhythmic vitality, as well as a sure feel for instrumental writing. He has nevertheless also composed a number of vocal and choral works, and in fact the first release on BIS of his music was the opera Döbeln (2010), based on a controversial figure in the war between Sweden and Russia in 1788-90. When Fagerlund received a commission for a second opera from the Finnish National Opera, he found his inspiration closer to our own time as well as to his own field. Ingmar Bergman’s 1978 chamber drama Höstsonaten (Autumn Sonata) tells of the celebrated pianist Charlotte Andergast, and how she is confronted by her daughter Eva, who accuses her of neglect and self-absorption. Bergman’s screenplay has been used as basis for numerous stage productions, but this is the first adaptation for opera. Höstsonaten was premièred at the Finnish National Opera in Helsinki in 2017, with Anne Sofie von Otter as Charlotte – the role for which Ingrid Bergman was nominated to an Oscar as best actress. She is supported by a cast including Erika Sunnegårdh, Helena Juntunen and Tommi Hakala, and the chorus and orchestra of the Finnish National Opera conducted by John Storgårds.



299 kr
Image CAMILLA LUNDBERG

2. Klassiskt: John Adams – ”Naive and sentimental music/Absolute jest”– Doric String Quartet/Royal Scottish National Orchestra/Peter Oundjian

"Amerikas bästa klassiska kompositör i högform. En lek med såväl Beethoven som stålsträngad gitarr mot fonden av roligt och färgstarkt orkesterspel."
***

As part of his final year as Music Director and following a two-season celebration of the Orchestra’s 125th anniversary, Peter Oundjian and the RSNO here present their second recording of music by John Adams, with the exceptional participation of the Doric String Quartet. Written for a large orchestra including six percussionists, keyboard sampler, and amplified steel-string guitar, Naive and Sentimental Music is a sweepingly symphonic masterpiece, full of contrasts and clashes. It reflects the dichotomy between ‘naive’ and ‘sentimental’ poetry as analysed by Friedrich Schiller in his 1795 essay Über naive und sentimentalische Dichtung, as well as the ‘bipolar’ musical life of Esa-Pekka Salonen, the dedicatee of this piece, who conducted the first performance with the Los Angeles Philharmonic in 1999. Absolute Jest is a large-scale scherzo for amplified string quartet and orchestra, heavily inspired by the music of Beethoven, which Adams has always deeply admired. The quartet of soloists, a late addition to the score, emphasises the echoes of Beethoven’s music (mainly his string quartets) and facilitates a ‘hyperspace rate’ of virtuosity, which the Doric String Quartet here perfectly demonstrates.

159 kr
Image CAMILLA LUNDBERG

3. Klassiskt: Bernhard Crusell – ”The three clarinet concertos” – Michael Collins/Swedish Chamber Orchestra

"Nog de finaste solokonserter som komponerats i 1800-talets Sverige. Idel charm och virtuositet, med bonusvariationer över supvisan ”Gode gosse, glaset töm”."
***

Michael Collins OBE embraces the double role of conductor and soloist in this thrilling revelation of clarinet treasures by the Finnish composer Bernhard Henrik Crusell, masterly supported by the fresh and spontaneous Swedish Chamber Orchestra. A clarinettist and composer, Crusell wrote works that were altogether more ambitious than any by his contemporaries. He achieved fame for his melodic inflection, his highly nuanced technique, and his beautiful sound, for which the three concertos, featured here, interpreted by one of today’s most internationally respected clarinettists, are an ideal vehicle. The level of virtuosity indeed makes severe technical demands on the soloist, as in the Introduction et air suédois, featured in the revised version published in 1829. But in the roundness of tone and evenness in quality throughout the range of the instrument produced by Collins lies the lasting attraction of a compelling musical discourse that has ensured Crusell’s recent widespread revival way beyond the world of the clarinet and its devotees.

159 kr
Image CAMILLA LUNDBERG

4. Klassiskt: Dmitrij Sjostakovitj – ”Quartet no 3/Quintet” – Belcea Quartet/Piotr Anderszewski

"Belceakvartetten går från klarhet till klarhet med genuint grepp om Sjostakovitjs särart och skönhet. Piotr Anderszewski är drömpartnern i den fantastiska pianokvintetten."
***

Formed in 1994 at the Royal College of Music in London, the Belcea Quartet has recorded the complete string quartets of Beethoven, Brahms, Bartók and Britten. For this new Alpha release it has chosen two works by one of the leading composers of twentieth-century chamber music, Dmitri Shostakovich. The Quartet no.3, of historic importance, was initially censured by the Soviet regime, then revised by Shostakovich for its first performance in 1946; the refined playing of the Belcea Quartet brings out all its contours. The Piano Quintet is among its composer’s most famous works and significantly contributed to his success on the international scene and with the Soviet authorities. The Belcea Quartet performs it in the company of the Polish pianist Piotr Anderszewski: the result is a musical encounter at the highest level of excellence.

159 kr
Image CAMILLA LUNDBERG

5. Klassiskt: Franz Schubert – ”Schubert sonatas” – Jacob Kellermann/Daniel Migdal

"Duo KeMi är gitarr och violin i intimt och inspirerat samspel. Schuberts musik passar dem perfekt i ett album som man vill spela om och om igen."
***

As Jacob Kellermann points out in the liner notes to this disc, there is an unbroken tradition of performing arrangements of Franz Schubert’s music on the guitar. Already in his lifetime some of his most popular songs appeared with simplified guitar accompaniment, marketed by music publishers wanting to exploit the growing market for domestic music-making. Schubert himself composed very little for the instrument, and there are doubts regarding Schubert’s own skills on the instrument. Nevertheless it is well known that the guitar was in fashion with the middle-class Viennese among which Schubert and his circle of friends moved. In his notes, Kellermann argues that elements of the light, melody-driven and carefree musical style favoured in that environment and present in stylized form in much of Schubert’s music is the very aspect that makes it so inviting to play on the guitar. DuoKeMi was formed by Kellermann and Daniel Migdal in 2006, and the two are constantly aiming to expand the repertoire for their combination of instruments. This has resulted in a number of commissions as well as new transcriptions, often by Kellermann himself as in the case of the muchloved Arpeggione Sonata recorded here

159 kr
Image JOHANNA PAULSSON

1. Nutida klassiskt: Anna Thorvaldsdottir – ”Aequa” – International Contemporary Ensemble

"Nutida konstmusik för kammarensemble kan vara en knepig genre. Men hos denna rättvist hyllade isländska blir tiden till rum. Klangfärgsrika platser att stanna kvar på och miljöer att utforska. Som vore musiken en grotta med ett framblåst urtidsdjur eller ett Ligetiland med laddad atmosfär. I skarven mellan det lyriska och modernistiskt kärva speltekniker uppstår ett eget, förrädiskt lockande tonspråk."
***

AEQUA presents a varied constellation of recent chamber pieces for smaller forces by composer Anna Thorvaldsdottir — ranging from solo piano to string ensemble — orbiting the large ensemble work Aequilibria. The album takes the listener on a journey through Thorvaldsdottir's distinctive soundworld, where sounds and nuances are as much part of the meticulously structured tapestry of the music as harmonies and lyrical material. The works are performed by the International Contemporary Ensemble, with two works conducted by Steven Schick and a work for solo piano performed by Cory Smythe.“Internally, I hear sounds and nuances as musical melodies and in my music I weave various textures of sounds together with harmonies and pitched lyrical material. The music is written as an ecosystem of sounds and materials that are carried from one performer — or performers — to the next throughout a progress of a work. As a performer plays a phrase, harmony, texture or a lyrical line it is being delivered to another performer as it transforms and develops, passed on to be carried through until it is passed on again to yet another. All materials continuously grow in and out of each other, growing and transforming throughout the piece. My music is often inspired in an important way by nature and its many qualities, but I do not strive to describe or literally incorporate elements from nature in my music. To me, the qualities of the music are first and foremost musical — so when I am inspired by a particular element that I perceive in nature, it is because I perceive it as musically interesting. The qualities I tend to be inspired by are often structural, like proportion and flow, as well as relationships of balance between details within a larger structure, and how to move in perspective between the two — the details and the unity of the whole. The pieces for smaller forces on AEQUA orbit the largest work Aequilibria, which is written for a chamber ensemble of 12 performers. Aequilibria was inspired by various states of balancing forces — by the natural breath between expansion and contraction, and the perspectives of translucence and opacity. This inspiration can be applied to the whole collection of pieces on AEQUA — the works breathe in and out of focus, expand and contract within their individual characters but reflect on each other through their various internal connections from beginning to end. Warmest thanks for listening.” —Anna Thorvaldsdottir Anna Thorvaldsdottir?Anna’s music is frequently performed around the world, and has been featured at several major venues and music festivals such as Lincoln Center’s Mostly Mozart Festival, the Leading International Composers series at the Phillips Collection in Washington DC, Big Ears Festival, ISCM World Music Days, Nordic Music Days, Beijing Modern Music Festival, and at the Kennedy Center in Washington DC. Her works have been nominated and awarded on many occasions – most notably, Anna is the recipient of the prestigious Nordic Council Music Prize, The New York Philharmonic’s Kravis Emerging Composer Award, and Lincoln Center’s Emerging Artist Award and Martin E. Segal Award. International Contemporary Ensemble?The International Contemporary Ensemble is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time.

179 kr
Image JOHANNA PAULSSON

4. Klassiskt: Ruth Gipps – ”Symphonies nos 2 and 4” – BBC National Orchestra of Wales och Rumon Gamba, dirigent

"En brittisk, bråkig anti-modernist med otrolig känsla för orkesterfärger blev årets stora återupptäckt."
***

The unjustly neglected and often dissident music of Ruth Gipps is with this album finding all the resonance it deserves by Rumon Gamba and the BBC National Orchestra of Wales, having already championed many British composers from the twentieth century with their series devoted to British Tone Poems and Overtures from the British Isles. While, not surprisingly, there are echoes of the most popular composers of the time – Sibelius, Walton, and Vaughan Williams – the music is notable for its personal voice, confident conception, and vivid writing for the orchestra. Gipps herself actually felt her best works were those for orchestra. In a programme of contrasting impressions and emotions, Symphonies Nos 2 and 4, the former inspired by the Second World War, offer an approachable tuneful idiom. They are complemented by the lyrical, shorter Song for Orchestra and the early tone poem Knight in Armour, premiered at the last Night of the Proms in 1942.

159 kr
Image JOHANNES CORNELL

2. Jazz: Esbjörn Svensson Trio – ”est live in London”
 
"Den definitiva liveinspelningen med est, utgiven tio år efter Esbjörn Svenssons död. Vilken hälsning."
***

Dubbelalbum som markerar tioårsdagen av Esbjörn Svenssons tragiska och allt för tidiga bortgång, 14 juni 2008. Det är den första liveskivan som ACT släpper med trion sedan dödsfallet. Under de tio år som gått har det blivit allt tydligare vilket otroligt viktigt avtryck Esbjörn Svensson, Dan Berglund och Magnus Öström satte på den internationella jazzscenen.
Inspelningen är gjord inför ett fullsatt Barbican Centre, i maj 2005 då trion stod på toppen av sin karriär, både kommersiellt och musikaliskt. Året efter följde en världsturné med över 100 konserter i 24 länder, inför totalt drygt 200 000 människor i publiken. Samma år prydde de som första europeiska band någonsin det amerikanska musikmagasinet Downbeats förstasida.
Det kan låta som en kliché, men genom sin musik kommer Esbjörn Svensson för alltid att finnas i våra hjärtan.

The release of this album marks a poignant moment: the tenth anniversary of the tragic and premature death of Esbjorn Svensson on 14 June 2008.

In those ten years there have been constant reminders of the indelible mark which Esbjörn Svensson’s piano playing has left on countless other players. Indeed it is hard to imagine currently successful bands such as GoGo Penguin or Mammal Hands, or many others all over the world, without the deep and lasting influence of the sound and the aesthetic of e.s.t.

The trio really was a phenomenon. Its scale, recognition and impact grew progressively and internationally during the seventeen years of its existence. British audiences, for example, took e.s.t to their hearts, and in a special way. Things began quietly when they first performed one night in the tiny Pizza Express Jazz Club in Dean Street in the late 1990’s, and their footprint in the UK just kept growing steadily from there, until they were packing out concert halls. It is part of a similar story in many European countries. They were not kust met with massive success in Germany and France, they truly went Europe-wide. And they also reached out further: they were the first European band ever to appear on the cover of Downbeat in May 2006, the magazine’s seventy-third year. In 2006, for example, they played over 100 concerts in 24 countries and were heard by 200,000 people.

That unforgettable experience of e.s.t. playing live has been caught before on CD, notably in "Live in Hamburg", which was named the “Jazz album of the decade 2000–2010” by The Times, whose critic wrote: “In a decade when Scandinavia staked a claim as the home of progressive jazz, no one had more success than this piano trio.” Jamie Cullum described the appeal of their live concerts: „e.s.t. are a jazz trio, only I can take my non-jazz friends along to see them. Not because they are easy to listen to or un-experimental, but because their improvisational approach is stuffed full of contemporary, relevant and hip ideas. I truly, truly love this band.”

This new release was recorded at one of two nights in a completely sold-out Barbican Centre in 2005, during a hugely successful and highly popular ten-date UK tour. The organic and natural way in which the set evolves is remarkable, and there is plentiful evidence of what Canadian critic John Kelman has called their “unique simpatico.” For people who know and remember the band well, the absolute gem here is a serene, deliciously poised account of “Believe, Beleft, Below.”


289 kr
Image JOHANNES CORNELL

4. Jazz: Bobo Stenson Trio – ”Contra la indecisión”

"På sin första skiva sedan 2012 är Stensons trio lika fri i tid och rum som någonsin tidigare."
***

Efter sex långa år (senaste, ”Indicum”, kom 2012) har äntligen ett nytt album med Bobo Stenson Trio landat. Redan efter några sekunder på första låten känns han igen – pianisten med de lyriska melodierna och det unika anslaget – i tätt samspel med Jormins stabila bas och Jon Fälts lekfulla och tassande trumspel.

TOPP-RECENSION I DN/JOHANNES CORNELL
"Det sofistikerade urvalet av covers speglas i lika förfinade uttolkningar, på en gång belysta av originalen och befriade av improvisationen.
Stensons, Jormins och Fälts intuitiva sampel och sound har en föregångare i Bill Evans Trio med Paul Motian och Scott LaFaro, men frågan är om någon annan pianotrio har tagit det till sådana här höjder."

Bobo Stenson Trio takes a stand against indecision on this decisively beautiful new album. Characteristic elements including Stenson’s lyrical touch, Jormin’s folk-flavoured arco bass and Jon Fält’s flickering, textural drumming are all well-displayed on Contra la indecisión, the trio’s first new recording in six years. As ever, the group draws upon a wide range of source materials. A yearning title song by Cuban singer-songwriter Silvio Rodríguez, Bartók’s adaptation of a Slovak folk song, a piece from Mompou’s Cançons I Danses collection, and Erik Satie’s Elégie all fit into the programme, alongside original compositions and group improvising. So strong is the group’s character and the musical identity of each of its members that the assimilation of this material always seems organic and logical. As Ben Ratliff wrote in the New York Times, “In Stenson’s records you don’t hear strategies or contentions, but a natural working flow.”

169 kr
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