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Image Symphony No. 12 - The Dead in the Square
Toppbetyg i Musikrevyn, Capriccio.se & Kulturdelen!

”Wow! Det är så fantastiskt hur orkestern behandlar denna ångvält till symfoni. Norköpings Symfoniorkester går från klarhet till klarhet tillsammans med Christian Lindberg.” Musikrevyn

"Norrköpings Symfoniorkester fortsätter att imponera i Petterssons musik och de har tillsammans med Lindberg verkligen hittat Petterssons idiom."
Staffan Sundkvist (Capriccio.se)


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 Haydn 2032, Vol. 9 - L'Addio
Totalfemma i Musikrevyn i P2!
”Il Giardino Armonico och dirigenten Giovanni Antonini plockar fram både mörker och sprittande glädje hos Joseph Haydn”


This ninth volume of the Haydn2032 series focuses on the composer’s psychological subtlety in its focus on a central work: his Symphony no.45, known as the ‘Abschieds-Symphonie’ (‘Farewell’ Symphony), composed in 1772. It is said to have got its nickname from a symbolic message Haydn conveyed to Prince Esterházy when he and his orchestra were required to stay longer than planned in the Prince’s summer residence. On the occasion of the symphony’s first performance, Haydn had arranged for the musicians to leave their places one by one during the final Adagio. The day after the concert, all the musicians were able to return to their families and bid farewell to the Prince, who had obviously taken the point of this poetic request for ‘liberation’ expressed in music. The programme is completed by Symphonies nos. 15 and 35 and a cantata sung by Sandrine Piau, the heart-rending ‘Berenice, che fai?’ on a text by Metastasio that was a real ‘hit’ of the eighteenth century, set by some forty composers.

169 kr
Image Emil Jonason plays Lindström + Mozart
Högt betyg 4 (av 5 i Dagens Nyheter!
"Här finns en lekfullhet som nästan är oförskämt charmerande.../ Att han inte bara är en briljant klarinettist utan också är något alldeles extra när det gäller förnyelse av solokadensen som form ..." (Martin Nyström, DN)


Emil Jonason - clarinet, basset clarinet
Helsingborgs Symphony Orchestra
Stefan Solyom - dirigent

Emil Jonason has been described in the Swedish, European and American press as "The Yngwie Malmsteen of the clarinet", "Has the aura of a Rockstar", "Raises the bar for what you can expect from a clarinet" and as "A magician who uses his instrument that breaks classical norms like a silver bullet ”. He has played as a soloist with the Swedish Radio Symphony Orchestra, the Royal Philharmonic Orchestra, the Gothenburg Symphony Orchestra, Musica Vitae, Düsseldorfer Symphoniker, Weimar Staatskapelle, Cabrillo Festival Orchestra in the USA, Symphony Orchestra Vlaanderen and many more in Sweden and abroad.

In 2019, Emil won the Kaleidoscope International Vocal and Instrumental Competition in Los Angeles, USA. From over 1,600 applicants from all over the world, Emil was chosen to play Emmy Lindström's clarinet concerto “At the Hills of Hampstead Heath” at the finals, and emerged victorious. He was the only clarinetist, and Emmy's concerto was the only contemporary piece of music selected for the finals.

Emil also teaches at the Royal Academy of Music in Stockholm, and at the Music and Opera Academy, at Mälardalen University in Västerås.

The music on this CD aims to celebrate the very heart of the modern clarinet, ranging from its birth with Mozart’s concerto from 1791, all the way to Lindström’s further exploring of the instrument’s emotional, expressive and versatile range. Emmy and Emil are married for more than ten years, and she has written several pieces for him: the clarinet concerto being the most recent, and “Song About Em” being the very first from 2006.

The clarinet concerto “At the Hills of Hampstead Heath” was commissioned by four Swedish orchestras and had its premiere together with Helsingborg Symphony Orchestra in 2017. The concert was broadcasted live on Swedish Radio, it has been highly praised in the press and Emil has performed it more than ten times throughout Sweden and Finland. In 2021 Emil will perform a brand new version of the piece together with the string orchestra Musica Vitae in Växjö, Sweden.

The hyper-romantic “Song About Em” for clarinet and strings was written as an encore to Emil’s performances of the Mozart concerto. “Em” symbolises the common letters of their names.


159 kr
Image Jag har funderat på en sak




Det har varit ett händelserikt år för Amanda Ginsburg. Skivbolaget Ladybird fick snabbt upp ögonen för henne och en första singel ”Havsmelodi", släpptes i våren 2017. Efter att ha blivit nominerad till Årets Nykomling av P2 Jazzkatten kom hon i höstas (2017) ut med ännu en singel, ”Flykten från vardagen” som gästades av Nils Landgren. Den 2 februari 2018 släpps debutalbumet ”Jag har funderat på en sak”.

”Jag låter min musik frodas i den nordiska melankolins tonspråk. Där vill jag varsamt förvalta arvet efter några av de mest älskade namnen inom svensk jazz och visa. Musiken hedrar en tradition men tar den in i en samtid med de infallsvinklar en 90-talist upptäcker i sig själv och andra.”
Amanda Ginsburg

Medverkande:
Amanda Ginsburg - sång
Filip Ekestubbe - piano och dragspel
Ludvig Eriksson - kontrabas
Ludwig Gustavsson - trummor
Joel Karlsson - basklarinett, tenorsaxofon



159 kr
Image Jag har funderat på en sak (LP)
Det har varit ett händelserikt år för Amanda Ginsburg. Skivbolaget Ladybird fick snabbt upp ögonen för henne och en första singel ”Havsmelodi", släpptes i våren 2017. Efter att ha blivit nominerad till Årets Nykomling av P2 Jazzkatten kom hon i höstas (2017) ut med ännu en singel, ”Flykten från vardagen” som gästades av Nils Landgren. Den 2 februari 2018 släpps debutalbumet ”Jag har funderat på en sak”.

”Jag låter min musik frodas i den nordiska melankolins tonspråk. Där vill jag varsamt förvalta arvet efter några av de mest älskade namnen inom svensk jazz och visa. Musiken hedrar en tradition men tar den in i en samtid med de infallsvinklar en 90-talist upptäcker i sig själv och andra.”
Amanda Ginsburg

Medverkande:
Amanda Ginsburg - sång
Filip Ekestubbe - piano och dragspel
Ludvig Eriksson - kontrabas
Ludwig Gustavsson - trummor
Joel Karlsson - basklarinett, tenorsaxofon



189 kr
Image Nordic Choral Music - Sweden, Norway, Finland, Den
Sagas, myths, vast realms. Snow-capped mountains, dark forests and an overarching stillness and peace. The cultures of Scandinavia have always exerted a huge fascination over people. Scandinavian music is often purported to possess a mystical and “typically Nordic” sound, and even if such a causal association cannot be applied in too much of a sweeping generalization, there are nevertheless frequently recurring characteristics: in particular, in the post-war generation there developed in Scandinavian choral music a strong orientation towards folk music and folk songs; choral singing became a significant medium of expression in middle-class music circles. The important relationship between human beings and Nature – as a result of the strong influence in Scandinavia of the changing seasons on people’s everyday lives – along with fundamental questions about life and death were ever-present topics in those countries’ choral music. Using modern-day musical resources, many works emerged in vernacular style and the boundaries between the art song and the folk song became blurred. Contemporary trends developed swiftly, the human voice was deployed in far more diverse ways than ever before: speaking, screaming, clucking, whistling and so on all took on equal weight within Scandinavian choral music together with improvisation and the use of empty syllables. Novel sounds and unusual scores were soon setting the tone and new standards on the Scandinavian choral scene began leading to a continual professionalisation that was to make waves across all of Europe.

169 kr
Image Russian Orthodox Choral Music (6CD)
During the past century Russian Orthodox vocal music has experienced two periods of rebirth. The first, which began in the last years of the 19th century, consisted of a return to the popular sources of religious chant in the znamenny chant tradition passed down from its origins in ancient Byzantine chant and maintained by churches and choirs across Russia until the 17th century, when rulers such as Catherine the Great began to look westwards for cultural identity. Composers such as Kastalsky, Chesnokov and Grechaninov repudiated the Italian and French influences which had shaped the work of Classical and Romantic-era composers such as the Sacred Concertos of Bortniansky. repudiated the Italian and French influences which had shaped the work of Classical and Romantic-era composers such as the Sacred Concertos of Bortniansky. This renaissance was foreshadowed by Tchaikovsky’s setting of the Liturgy of St John Chrysostom in 1878 – in its time a controversial work, rejected by the Church – and reached its zenith with the two sacred cycles by Rachmaninoff: another setting of the Liturgy and then his religious masterpiece, the Vespers (All Night Vigil) of 1915. Once more suppressed by the 1917 Revolution, an authentic strain of Russian sacred music had to wait until the era of glasnost in the late 1980s and early 90s Rybin Male Choir could once more be formed to sing and record the repertoire that is their country’s musical inheritance, and most of these recordings date from the early 90s, first released on the ‘Saison Russe’ imprint for its renewal. Ensembles such as the of the Chant du Monde label, long unavailable and now reissued here for the first time.

189 kr
Image Time & Eternity
Högt betyg 4 (av 5) i Dagens Nyheter! "Få världsstjärnor inom den klassiska musiken är så djärva som violinisten Patricia Kopatchinskaja och ”Time & eternity” är ett aldrig tidigare hört klassiskt album." Martin Nyström (DN.se)


Time and Eternity. Always in search of powerful musical experiences, the violinist Patricia Kopatchinskaja and Camerata Bern – of which she has just taken over the artistic direction –here juxtapose Hartmann’s Concerto funebre, composed in 1939 to express his indignation at the Nazis’ terror, and the Polyptyque for violin and orchestra that Frank Martin wrote in 1973 for Yehudi Menuhin, a work inspired by six scenes from the Passion of Christ painted by Duccio di Buoninsegna around 1310. The Kyrie from Machaut’s Messe de Nostre Dame, composed half a century after the altarpiece and heard here in an arrangement for strings, is interspersed between the movements, along with Bach chorales, ‘as an invocation of eternal consolation’. A Polish folksinger interprets the Jewish song ‘Eliyahu hanavi’, which expresses the hope of salvation and which Hartmann quotes in his concerto. Six hundred years of music to ‘make the victims’ voices heard’, says Patricia Kopatchinskaja. The album opens with Kol Nidrei by John Zorn (born 1953), in response to the eponymous prayer spoken by a representative of the Jewish community. A Catholic priest and an Orthodox priest also say a short prayer.

159 kr
Image Haydn2032, Vol. 5: L'homme de genie
Haydn2032, the ambitious project of recording the complete symphonies of Haydn, has been placed from the start under the artistic direction of Giovanni Antonini, with two ensembles, Il Giardino Armonico, which made the first four volumes, and the Kammerochester Basel, to which this fifth volume and the next two are assigned. Another characteristic of the edition is that each time Haydn is set in perspective with another composer; here it is Joseph Martin Kraus (1756-92): ‘Kraus was the first man of genius that I met. Why did he have to die? It is an irreparable loss for our art. The Symphony in C minor he wrote in Vienna specially for me is a work which will be considered a masterpiece in every century’, said Haydn in 1797. Though he long remained forgotten after his death, Kraus made an active contribution to the movement of poetic renewal called ‘Sturm und Drang’ or ‘Geniezeit’ (time of genius) because such artists as the young Goethe broke free of all tradition to follow their hearts alone. When Haydn called Kraus homme de genie, in French, he probably had this context in mind. The two composers had met in Vienna in 1783.

159 kr
Image Haydn2032, Vol. 4: Il Distratto
The fourth volume of the Haydn2032 project thrusts into the limelight one of the most important stock characters in the theatre of sounds and words, the Kapellmeister, and explores some glamorous and (in)glorious moments in the career of Maestro Haydn. It features three symphonies by the ‘Shakespeare of Music’ – one of which is even associated with an actual play. This bears the title ‘Sinfonia in C. per la commedia intitolata Il distratto’ (the name of the play soon became the symphony’s nickname) and consists of an overture, four entr’actes, and a finale to be played at the end of the performance. Also on this disc is a large-scale buffo scene by his colleague Cimarosa. Il maestro di cappella is a witty and ironic parody, in which a member of the ‘old school’ of musicians tries to improve the ensemble playing of his orchestra. To his chagrin, the players do react, but in extremely undisciplined fashion: they are distracted, make false entries and disagree musically . . . (from a text by Christian Moritz-Bauer)

159 kr
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