De bäst säljande albumen på NaxosDirect just nu!
1. Orchestral Works, Vol. 1
2. Partitas & English Suites - vol. 1
3. Funk is my Religion
4. Viaticum (2LP Coloured Vinyl)
5. L’Orfeo (2SACD)
6. Music from Proust’s Salons
7. Symphony No. 7 in E Minor
8. Parker's Mood
9. From Gagarin's Point of View (2LP Coloured Vinyl)
10. Seven Days Of Falling (2LP Coloured Vinyl)
Visar 10 artiklar
Image Orchestral Works, Vol. 1
Czech-born Paul Wranitzky, a contemporary of Mozart, was the most important symphonist in Vienna at the turn of the 18th century. To mark the ascension to the throne of Franz II in 1792, Wranitzky wrote the grand Symphony in C major, a work of regal quality and festive exuberance. Wranitzky’s mature symphonic style is on display in the Symphony in B flat major, with its expanded orchestral forces, contrasting textures and broad musical invention. Overtures from two operas offer a sampling of Wranitzky’s dramatic writing for the stage.

89 kr
Image Partitas & English Suites - vol. 1
”Sivelöv gör Bach till romantiker i Robert Schumanns anda. Men inte så att han tvingar på musiken en stor maskeraddräkt. Nej, med omsorgsfullt bruk av rytm, dynamik och anslag anpassar han uttrycket till de förutsättningar som varje sats, ja varje fras, ger.” (Tobias Lund, Sydsvenskan)

89 kr
Image Funk is my Religion
Tender-hearted yet tenacious, Nils Landgren is a world-class artist. His Funk Unit’s groove is irresistible, and The Man with the Red Horn himself has led the band through their highly successful run of CDs, and in rapturously received concerts everywhere from Stockholm to Beijing. "Funk is my Religion" is the band’s eleventh album – the album title just says it all. Landgren and his Norsemen bring a passion, an intensity and a freshness to their craft which has remained undimmed since the start. For more than 25 years, jazz-funk has been the force driving Landgren. This veritable elixir of life produces the bubbling energy, groove and joy that can be heard and felt in every note of the music. The band’s deliciously easy and laid-back vibe gets straight through to audiences. With the crispness of their funk rhythms, blazing brass, cool vocals and persuasive melodies, a new chapter for the Nils Landgren Funk Unit is only just beginning.

169 kr
Image Viaticum (2LP Coloured Vinyl)

Esbjörn Svensson doesn’t really like to describe the music on this album, but he explains: "It is clear that the proportion of the composed elements has grown, as we don’t jam as much as we used to." When the talk is about the melodies and arrangements, Chopin has still a very special influential role for Svensson, but that of Johann Sebastian Bach should not be underestimated.

An almost telepathic understanding for one another means that the trio is able to record an album in which they know how to merge the intensity of their almost legendary live shows with the technical possibilities of the recording studio.

The trio places great weight on the titles of the individual compositions. Their titles invite, in just a few words, the opportunity to allow a deeper understanding of the music: "Letter From The Leviathan", "Twenty-Eight Days In My Veins", "In The Tail Of Her Eye". Don’t they sound like a sort of poetry? Svensson replies: "It’s really important to us to have titles that sound right. When the decision for the specific tracks is made, it’s usually left to (drummer) Magnus Öström. He takes the time to find the most appropriate concept. The art of this however lies in the fact that the imagination of the listener shouldn’t be distorted and each should be able to create their own image in their head."

If not before, the title track is likely to cause your imagination to run riot - do the three Swedes really mean "the Eucharist when administered to or received by one who is dying or in danger of death" as defined by the Oxford English Dictionary? Svensson clarifies the situation: "If you want to think of it in those terms, don’t let me stop you! But the word has another meaning. Just think of Viaticum as simply the provisions which the band would like to give you to take along on your journey."

399 kr
Image L’Orfeo (2SACD)
Högsta betyg till ”L’Orfeo” i DN!
”Det märks att Monteverdis musik är älskad och har en djup förankring hos svenska musiker. Kanske för att den är så tillåtande.” (Martin Nyström, Dagens Nyheter)

”Tillsammans med en fantastisk solistensemble mejslar Fredrik Malmberg fram dramats detaljer och de musikaliska ornament som lotsar Orfeus mot underjorden i sökandet efter Eurydike. Monteverdis opera, speciellt i den här inspelningen, är värd stor uppmärksamhet.” (Jörgen Lundmark, Opus)

L’Orfeo by Claudio Monteverdi (1567–1643) is often described as the first opera. The composer himself used another term for his work, however: ‘favola in musica’, a musical tale. Taking this as their point of departure, the performers on the present recording place the emphasis on the libretto’s direct narrative, and how the music alone is used to express emotions, a music which underpins the plot and the text word for word. To quote the liner notes: ‘To modern ears the musical heritage of L’Orfeo is more to be found in the Lieder tradition than in the grand opera of the nineteenth century.’ The tale told by Monteverdi and the members of the three ensembles which bring his score to life, is that of Orpheus, the poet and musician who travels to the Underworld in order to persuade Hades to let his beloved Eurydice return to the living. Under the direction of Fredrik Malmberg, and with Johan Linderoth as their Orfeo, the 38 singers and musicians that make up Ensemble Lundabarock, Höör Barock and Ensemble Altapunta perform a score which in 1607 was state-of-the-art contemporary. Four full centuries after the first performance in Mantua it remains almost shockingly modern, as in the sound of cornetts and trombones that summon up the spirits of the Underworld or the portrayal of undiluted, raw grief in Orfeo’s celebrated aria Possente Spirto.

369 kr
Image Music from Proust’s Salons
With this programme of music for cello and piano, Steven Isserlis and Connie Shih transport us to the world immortalized in Marcel Proust’s a la recherche du temps perdu – the Parisian high society and its glittering salons. For the composers of the time these provided a perfect platform for the introduction of new works, performed by the finest musicians in France for a sympathetic, educated and rich (!) audience. And for the music-loving Proust they offered countless opportunities to meet the composers that he so admired (and others that he may have admired a bit less…) The first of these to make his appearance in the programme is no one less than Proust’s one-time lover and lifelong friend, Reynaldo Hahn, with a brief set of Variations chantantes on a theme from a baroque opera. He is followed by Gabriel Faure, whose music Proust gushed about in a letter to the composer: ‘I could write a book more than 300 pages long about it.’ Proust was less expansive about Saint-Saëns’ music even if he admired him as a pianist, but the composer’s First Cello Sonata is nevertheless the centrepiece of the programme, before Henri Duparc and Augusta Holmes make their appearance. These were both students of Cesar Franck, whose iconic Violin Sonata in A major (here in the version for cello) closes this programme of ‘salon music’ – in the best possible sense of the term.

169 kr
Image Symphony No. 7 in E Minor
“If one sought a musical manifestation of all the painful experiences and tragic failures of European history in the early 20th century, it would be impossible to overlook the symphonies of Gustav Mahler. Here, there is no harmony where discord is more fitting. Here, life cries out, with all the conflict and joy it prof-fers humanity. In their performances, Kirill Petrenko and the Bayerisches Staats-orchester have enabled these experiences to resonate in remarkable fashion. What better way to launch the Bayerische Staatsoper’s new label than with this outstanding live concert recording.” (Nikolaus Bachler, General Manager, Bayerische Staatsoper) Kirill Petrenko, general music director of the Bayerische Staatsoper from 2013 until 2020, conducts Gustav Mahler’s Symphony No. 7 – a pinnacle of the symphonic repertoire in a dramatic interpretation. This is the first audio-recording with Kirill Petrenko as chief conductor of the Bayerisches Staatsorchester.

189 kr
Image Parker's Mood
LIRA GILLAR! "En av Sveriges, Europas och jazzvärldens absolut bästa och mest anlitade kontrabasister kommer ut med sin blott andra (sic!) platta i eget namn. Varför så få? Kanske för att han varit så upptagen med att få andra att skina, alla från Bernt Rosengren till Scott Hamilton och Lill Lindfors och Bengt Hallberg." (Magnus Östnäs, Lira)

Hans Backenroth: Bass
Erik Söderlind: Guitar
Klas Lindquist: Alto saxophone
Karl-Henrik Ousbäck: Drums

I’ve been listening to Hans’s music for more than 25 years in many contexts, and I have noticed how he has grown and matured as an artist. And how he’s always thinking “we” instead of “I”.

So, all things considered, here’s a tribute that everybody involved should be proud of. I’m sure that Charlie Parker would have smiled approvingly.
Yes, Bird lives!

Thorbjørn Sjøgren

159 kr
Image From Gagarin's Point of View (2LP Coloured Vinyl)

The Esbjörn Svensson Trio moves a step further with the May through November 1998 recording of the album From Gagarin's Point of View. Complex motifs and thoughtful stylistic variations are combined with subtle rhythms For the necessary mixture of groove and memorable melodies. The eleven compositions integrate gravity with humour, individuality with mass appeal, concept and vision with a brazen casualness into an up-to-date improvised potpourri; "We try to let the music flow. That's also why the rather strange album tide that Magnus came up with works. Gagarin was the First man to gaze back at the earth from space. Out there in the solitude, he could survey all that passed by below. We liked this image, and felt it worked for the tide and the concept of the album".

399 kr
Image Seven Days Of Falling (2LP Coloured Vinyl)

On Saturday March 9, 2002 a select number of people assembled at midnight for a secret release party – by invitation only - at London´s legendary "Pizza Express Jazzclub", the same place that had been the inspiration for e.s.t.´s former "Good Morning Susie Soho" album (ACT 9005-2). It was like a Who’s Who of Europe´s festival programmers, record company executives and journalists. And the event? The release party for e.s.t.´s brand new album "Strange Place for Snow" (ACT 9011-2). That evening was to signify the starting point for the international breakthrough of the band.

Nearly 100 concerts (in 18 countries) and 6 major European awards later, the band had taken Europe by storm. e.s.t. had been voted "best international act" by the Victoires du Jazz in France and by the BBC in England. They had received the German Jazz Award and the German Critics Award for the "Best Album of the Year". They had been given the Guiness Jazz in Europe Award in Ireland and the "Revelation of the Festival Award" at Midem in Cannes. "Strange Place for Snow" nearly tripled sales of previous e.s.t. albums and even took the band to the USA where it was released by Sony Columbia. As a result, the band played a complete tour of the States – probably the only European jazz act that did so in 2002.

399 kr
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