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Image Violin Concertos 1 & 2; Solo Sonata
Frank Peter Zimmermann, one of today’s most highly regarded violinists, takes our breath away with this recording together with the Bamberger Symphoniker and their chief conductor Jakub Hruša – one of the leading Martinu conductors of today. They start off by exploring the lyrical side of Bohuslav Martinu, offered in the Second Violin Concerto (1943), to dive into the neo-classical idiom championed by Stravinsky that informs the composer’s Violin Concerto No. 1. Béla Bartók’s Sonata for Solo Violin closes the album. Composed in 1944, only a year before Bartók’s death, it is a deeply personal statement which fuses the overall layout of Bach’s solo violin sonatas with Hungarian folk tradition with results that are as fascinating to the listener as they are challenging to the performer.

169 kr
Image Play Lars Gullin
...På ett charmerande enkelt sätt lyckas B & N lyfta fram essensen i Gullins skapande. Här finns folkvisetonen och den fina harmoniken, men framför allt tydliggör de Gullins fantastiska melodier.

(Måns Wallgren, Dagens Nyheter)

…1999 blev han Lars Gullin-stipendiat. Och nu är Bergsten tillbaka med ”Play Lars Gullin”. Tillsammans med pianisten Peter Nordahl ger han sig på tio Gullin-pärlor. Kolla in spår ett, ledmotivet till tv-serien ”Kvarteret Oron”. Eller sjuan, ”Mazurka”. Eller fyran, ”Silhouette”. Detta är ett mycket vackert album.

(Tobias Fröberg, Aftonbladet)

Gunnar Bergsten, barytonsaxofon; Peter Nordahl, piano.
Lars Gullins inspirerande spel var anledningen till att Gunnar Bergsten började att spela barytonsaxofon och Gunnar är verkligen glad att detta projekt blivit av. ”Både jag och Peter älskar låtarna”, säger Gunnar med värme i rösten.
Gunnar Lindqvist, som står för texten i CD-häftet, skriver bl a följande: Tio skimrande pärlor ur Lars Gullins levande melodiskatt, spelade med intelligent känsla och viril poesi av två lysande musiker. Enjoy!

69 kr
Image Violin Sonata; Dix Melodies; Piano Trio
This is the first ever album devoted to the chamber music of Helena Munktell, one of the earliest female composers in Sweden. The daughter of an industrialist, Munktell received private lessons in piano and song from an early age, but soon also training in music theory and composition. In 1877 she visited Paris, where two of her sisters lived, and during the next thirty-odd years the city would be a second home to her. Here she studied with composers such as Benjamin Godard and Vincent d’Indy, and became a member of Société Nationale de Musique (SNM), an organization promoting French music and providing opportunities for young composers to have their works performed. A selection of Munktell’s songs had been performed, in Swedish, at a Society concert in 1892 and in 1900 they were heard again, but now in the French versions released the same year by the reputed musical publisher Alphonse Leduc. The Dix Mélodies are finely crafted musical scenes displaying a wide expressive range and variety of moods. Five years later another SNM concert saw the first performance of Munktell’s Violin Sonata in E flat major, by none other than the renowned Romanian violinist George Enescu. Franck’s famous A major Sonata, which Munktell knew well, served as an important source of inspiration in regards to the cyclic form and harmonic writing. The sonata soon appeared in print, now from E. Demets, another French music publisher. The third work on this album is a small-scale piano trio, probably an early work and possibly composed for performance at one of the musical salons at the Munktell family home in Stockholm.

169 kr
Image Beethoven's Testaments of 1802
1802 was the crisis year in which Beethoven the artist committed Beethoven the man to fate – and became immortal. He was beset with mounting problems: progressive deafness, strong feelings of alienation and the conviction that he was being excluded from social and official life in Vienna. During his stay at Heiligenstadt in the summer and autumn of 1802 he writes testaments in words and in music that show his path ahead to his middle period, often called "the heroic". His Sonata no. 9 for violin and piano, the Kreutzer, is a defining work for the year 1802 and for Beethoven's heroic style. In sharp contrast is the high-spirited Sonata no. 8, but together – and particularly when considered in light of the so-called Heiligenstadt Testament – these two sonatas reveal something of the creative and existential struggle he was enduring. 1802: the year when Beethoven became Beethoven.

179 kr
Image Stabat Mater

"Tillsammans hittar de en så tät klang att det tidvis låter som en röst, bara med oändligt fler nyanser"
(Dagens Nyheter)

"Ett medryckande musicerande"

"...två sångare som är oerhört samtrimmade..."
(Upsala Nya Tidning)

69 kr
Image Violin Sonata / Viola Sonata
The performers :

Tino Fjeldli is currently holding the position asconcertmaster in Malmö Opera Orchestra. He is also concertmaster in Athelas, -Denmarks leading new music ensemble, and is ass. concertmaster in Berlin Chamber Orchestra. Tino was for many years concertmaster and groupleader in one of Swedens leading chamber orchestras, Camerata Nordica, and has formed a duo with the swedish concert-pianist Francisca Skoogh. He has been in leading positions in many Scandinavian orchestras, and is one of the leaders and founding members of the renown norwegian chamber orchestra The Trondheim Soloists. Tino appears often on TV and radio, and has done numerous cd-recordings, including own productions, and on Deutsche Gramophone together with Anne Sophie Mutter. He has toured as chamber-musician all over Europe, in USA, Japan, China, Brazil and Mexico, and has performed in famous concert halls like Wigmore Hall, Philharmonie, Concertgebouw and Carnegie Hall. Tino has also been teaching at music-academies in Norway and Sweden....

159 kr
Image Symphonic Swedish Organ, The
"...magnificently played and recorded on a truly tremendous organ."

"...en av de mest intressanta svenska orgelskiivorna på mycket länge!"

"Sällan hör man ett så temperamentsfullt och samtidigt så lugnt och säkert orgelspel."

Anders Johnsson spelar på orgeln i S:t Johannes kyrka i Malmö

Anders Johnsson (född 1969) är sedan år 2000 organist i Slottsstadens församling i Malmö, där han ansvarar för en omfattande kör- och musikverksamhet. Han har studerat orgel för Per Rydén, Hans Hellsten, Mikael Wahlin, Jean Boyer och slutligen i solistklassen vid Det kgl. danske Musikonservatorium i Köpenhamn för Hans Fagius. Studierna avslutades med en solistdebut i Köpenhamn 1999. Dessförinnan har han studerat musikvetenskap i Lund, genomgått kyrkomusikerlinjen, musikerlinjen och barocklinjen vid Musikhögskolan i Malmö. Sedan ett tiotal år undervisar han i orgelkunskap och solistiskt orgelspel på kyrkomusikutbildningarna vid samma institution. Anders Johnsson är också ofta anlitad som orgelsakkunnig i de södra delarna av landet och har då ofta inriktat sig på återanvändande av historiskt pipmaterial i nytänkande av symfoniska instrument. Anders Johnsson konserterar regelbundet i Sverige och utlandet och har spelat i Sveriges radio P2 samt medverkat i flera CD-produktioner. Han framför gärna musik från skiftande epoker och länder, men har en förkärlek för svensk och fransk romantisk musik, samt kammarmusik med tidstrogna instrument.

49 kr
Image Gran Partita
Better known as Gran Partita, Mozart’s Serenade in B-flat major, K 361 is the crowning glory of the Harmoniemusik of the Classical era. Austrian and German nobles in particular often employed small wind ensembles called Harmonien which provided entertainment during banquets and outdoor festivities. In order to satisfy the growing demand for suitable music, countless arrangements of operas and ballet music were made, while original works were supplied by a wide range of composers – Haydn, Beethoven, Schubert and many lesser masters wrote Harmoniemusik. Among their works, Mozart’s Serenade stands out for several reasons. It is on a larger scale than most: with seven movements and a duration of some 50 minutes, it is scored for thirteen instruments rather than the usual eight or nine. But conceived with a cyclical layout and with a highly economic use of motivic material, it also displays a compositional sophistication unusual for the genre. The Gran Partita is here performed by wind players from one of the world’s finest orchestras, the Amsterdam Concertgebouworkest, under the direction of oboist Alexei Ogrintchouk. Ogrintchouk has also chosen the coupling, a set of variations by Beethoven on Mozart’s famous aria from Don Giovanni scored for two oboes and English horn.

169 kr
Image Symphony No. 12 - The Dead in the Square
The Twelfth Symphony forms an exception in Allan Pettersson’s output. When he agreed to compose a work for the 500th anniversary of Uppsala University, it was one of the few commissions that he ever accepted. Having written purely orchestral scores for the past 30 years, he decided to incorporate a choir and a text. Pablo Neruda had received the Nobel Prize in 1971, and acknowledging the poet’s ‘deeply felt compassion for the outcasts of society’, Pettersson selected nine poems from the huge collection Canto general for his new work. As Pettersson was composing the symphony, Neruda died during the tumultuous aftermath of the military coup in Chile on 11 September 1973. The poems deal with an incident in Santiago de Chile in 1946 when six demonstrators were killed by the police during a workers’ manifestation. Pettersson, who came from a working-class background, commented on the subject matter: ‘My heart was, and is, with the poor of Chile, so like the worker in the ‘third world’ in which I grew up.’ Typically Pettersson, the symphony is in one movement. The choral parts are highly demanding – the choir sings almost without interruption, and often very forcefully and in difficult registers. The Swedish Radio Choir and Eric Ericson Chamber Choir, two of Sweden’s finest choirs, have combined their forces for this recording and join the Norrköping Symphony Orchestra and Christian Lindberg on the latest installment in the team’s acclaimed Pettersson cycle.

169 kr
Image Concertos
Toppbetyg 5 (av 5) i Hifi & Musik!
”Dessa lysande solister och ensembler spelar utomordentligt uttrycksfullt.” (Stig Jacobsson, Hifi & Musik)

”Nutida klassisk musik när den är som mest välkomponerad, men minst krävande att lyssna på.” (Johanna Paulsson, Opus)

Toppbetyg 5 (av 5) i Dagens Nyheter!
”En magisk drömvärld där soloinstrumentet är sagans hjälteväsen.” (Martin Nyström, Dagens Nyheter)

Bent Sørensen’s distinctive music thrives on the intangible, from atmospheres and feelings to memories and dreams. This recording assembles three recent concertos from the Grawemeyer Award-winning composer performed by distinguished Nordic soloists, beginning with a second piano concerto played by its dedicatee and inspiration, Leif Ove Andsnes. Sørensen’s clarinet concerto for Martin Fro¨st is inspired by the scents of Spanish poetry, while his trumpet concerto for Tine Thing Helseth feeds of his constant obsession with the beauty and vulnerability of Venice. Each is highly evocative and filled with Sørensen’s etched beauty.

159 kr
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