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Image The Symphonies (4 SACD)
It was only after his death that Franz Schubert’s symphonic works made an impact in music history. In fact, the first public performance of any of Schubert’s symphonies took place at a memorial concert held a few weeks after the composer had passed away, on 19th November 1828. The work that was heard at that occasion was Symphony No.6, D589, the ‘Little C major’, while the two undisputed master works of the series – the ‘Great C major’ and the ‘Unfinished’ – had to wait until 1838 and 1865, respectively, before being performed. The six symphonies that precede them in the list of completed works were all composed between 1813 and 1818, while Schubert was still only 21 years of age. In a style above all oriented on Haydn and Mozart, they are youthful in the best sense of the word and display a disarming freshness which the present performances convey to perfection. The four discs gathered here were released singly between 2010 and 2014, receiving critical acclaim in the international music press: the reviewer in The Daily Telegraph (UK) described the experience as ‘having a layer of varnish removed from a much-loved painting’ while his colleague in Fanfare wrote that the approach by Thomas Dausgaard and the Swedish Chamber Orchestra ‘changes the landscape’, proposing that the cycle ‘could become a first choice among any available.’ The set also include some shorter orchestral works, among them the much-loved Rosamunde Overture.

559 kr
Image Symphony No. 15 & Viola Concerto
Allan Pettersson’s Symphony No. 15 is characterized by a high degree of tension right from the striking opening: brief, emphatic chords from horns and trombones above the tremolo of a side drum. Soon an expressive melodic subject is heard from the first violins, followed by contrasting rapid scales – at which point Pettersson has presented the greater part of the symphony’s building blocks. Like so many of the composer’s symphonies, the 15th is in one movement, but with clearly defined sections. It was completed in 1978, two years before Pettersson’s death, and was followed in 1979, by the sixteenth symphony, the last work that the composer submitted for performance. Only later did it become known that Pettersson had also been working on a Viola Concerto – a work that, if not fully completed, was so far advanced that it has been accepted as part of his œuvre. It is presented here by the Swedish violist Ellen Nisbeth, who also performs one of Pettersson’s very earliest compositions – a Fantaisie pour alto seul, dated June 1936, when the composer himself was about to embark on a career as violist. On this the tenth disc in their acclaimed Pettersson cycle, the Norrköping Symphony Orchestra and Christian Lindberg bring their combined expertise to bear on the orchestral scores.

169 kr
Image 4CD-BOX: Complete Symphonies
Staatskapelle Dresden
Herbert Blomstedt

Bringing together all seven of Schubert's completed symphonies, as well as the much loved B minor 'Unfinished', this set charts the development of Schubert's voice as a symphonist. His first six symphonies were composed between 1813 and 1818 for the orchestra at the religious school that he attended in Vienna. Although they could be considered to be apprentice works, and are clearly influenced by Haydn, Mozart, Beethoven, and - in the case of the Sixth Symphony - Rossini, they are remarkable achievements for such a young composer, and the listener can hear some of the hallmarks of Schubert's more forwardlooking, romantic style, such as a bolder and richer harmonic language, beginning to emerge.

After a serious illness in 1822, from which he only partially recovered, Schubert composed his final symphonic masterpieces, the 'Unfinished' (1822) and the 'Great' (1825-6). From the haunting slow introduction and the extraordinary sense of pathos of the 'Unfinished' to the joyful and rhythmically vital 'Great' symphony, both works showcase Schubert the symphonist at the peak of his powers and are some of the most popular and enduring pieces in the orchestral canon.

Schubert's complete symphonies are performed here by the legendary Staatskapelle Dresden under the inspired direction of celebrated conductor Herbert Blomstedt, praised by Gramophone for his 'incomparably refined sensitivity and canny interpretative prowess'.

169 kr
Image Baroque Concerti from The Netherlands (4CD)
The 18th-century Dutch Republic served as a magnet attracting musicians across Europe. It was one of the wealthiest of European countries. Celebrities such as Handel and Mozart may have passed through only briefly, but others such as Locatelli made a permanent home in the republic and introduced many foreign musical languages to local composers. Hence, in this unique collection, we find a remarkable diversity of style, from Wassenaer's post-Corellian concerti grossi to the more galant music of Albertus Groneman. Meanwhile Willem de Fesch and Pieter Hellendaal moved to England and never returned to their homeland. Hellendaal’s ‘grand concertos’ are likewise Italian in style, though cast in a ripieno idiom whereas de Fesch’s concertos draw on his expertise as a solo violinist, rooted as much in the heritage of Vivaldi as Corelli. Most of the concertos on album 4 were composed by foreign arrivals: itinerant musicians such as the German-born Johann Christian Schickhardt and Anton Wilhelm Solnitz of Bohemian origins. The performances here, made in the 1990s and early 2000s and originally issued on the Dutch NM Classics label, enjoy a lively but not doctrinaire appreciation of historically informed style. Although the Combattimento Consort uses modern instruments, they play them implementing the techniques that van Wassenaer and Ricciotti would have known. The sound the players generate is therefore old and new, and should offend neither camp in the current round of period-instrument wars. Musica ad Rhenum, familiar from their considerable Brilliant Classics catalogue, play on instruments of the era or copies thereof. They are renowned among the most stylish of Dutch early-music groups. “The interpretations brim with verve and lucidity… de Vriend and his compatriots execute these works with excellent definition, a fine sense of shape and balance, and musical intelligence.” (Fanfare)

169 kr
Image Symphony No. 3 & Overtures
This album includes a large portion of the orchestral works written by Ludvig Norman (1831–1885), ‘The Swedish Brahms’, including his masterpiece work, Symphony No. 3, performed by the Oulu Symphony Orchestra under Johannes Gustavsson. Ludvig Norman was a highly fascinating artist who inspired a generation of Swedish composers and was widely respected, although his 3rdSymphony was premièred only after the composer’s death. Born in Stockholm, Sweden, Ludvig Norman (1831–1885) went at the age of to study at the famous Leipzig Conservatory, where his teachers included Ignaz Moscheles (piano) and Julius Rietz (composition). Having returned to Stockholm as a professional musician and composer deeply inspired by his impressions of musical life in Leipzig. Norman is often considered to be among Sweden’s premier symphonists after A. F. Lindblad and Franz Berwald (1796–1868). His contribution to the Swedish orchestral repertoire comprises three symphonies, three overtures and a Funeral March. Stenhammar described the composer’s 3rdSymphony as “full of beauty” and even claimed that he valued it more than “any of Brahms’s symphonies”.

169 kr
Image Min lilla stora kärlek (CD + Sånghäfte)
Sånger för de allra minsta med Svenska Kammarorkestern,
Alexander Hanson (dirigent) och Maria Brengesjö (solist)

Svenska Kammarorkestern bjuder regelbundet in till bebiskonserter i Örebro Konserthus. Genom åren har fler än tusen små barn och deras vuxna besökt konserterna, sjungit med i sångerna och upplevt närvaron i den stora konsertsalen.”Min lilla stora kärlek” består av musik från konserterna men också av nyskrivna sånger. Vi önskar att det blir orkester-musik att leva med i vardagen och att sångerna ger trygghet, väcker nyfikenhet och inspirerar till dans, lek och närhet.

119 kr
Image Complete Symphonies (3CD)
Brahms was 43 years old when, after a long period of maturation, his First Symphony was published. Felix Weingartner commented on it ‘taking hold like the claw of a lion’ and its urgency marked a new phase in Brahms’ musical development. The Second Symphony is traditionally seen as the pastoral element in the cycle, while the Third, with its melodic beauty, has the courage to end quietly, an act of astonishing serenity. The compelling Passacaglia finale of the Fourth Symphony represents a fitting summation to one of the greatest symphonic cycles in the classical canon.

269 kr
Image Haydn 2032, Vol. 12: Les jeux et les plaisirs
The twelfth volume in the Haydn 2032 series, in which Giovanni Antonini conducts the Kammerorchester Basel, is devoted to ‘games and pleasures’. The symphonies recorded here, nos. 61, 66 and 69, were composed for the daily theatrical performances held at Eszterháza Palace in the spring of 1776. For Haydn they marked the end of a festive period, before he had to return to the serious business of writing operas. The ‘Toy Symphony’, attributed to Haydn for 200 years before it was discovered that it was in all probability composed by a Benedictine monk, completes the program in a similarly light and cheerful atmosphere.

189 kr
Image Bridge & Britten: Works for Viola
Hélène Clément, violist with the Doric String Quartet, is the current holder of the viola previously owned by both Bridge and Britten. Her ambition, quickly formed once she first played this instrument, has been to create a testament to both composers and the instrument that binds them all together. This recording, where Hélène is joined by pianist Alasdair Beatson and Dame Sarah Connolly, is the realization of that ambition. Hélène writes: ‘Frank Bridge owned and played the beautiful viola made by Francesco Giussani, in Italy, in 1843. Benjamin Britten was Frank Bridge’s most beloved pupil, and Bridge gave him the viola as a parting gift when Britten had to embark on a ship’s journey to the United States at the outbreak of the Second World War. The composers were never to see each other again. To record the viola repertoire of both composers, producing the very sound that they would have had in their ears, the sound that inspired their love for the instrument and its special language, became a priority for me.’

169 kr
Image The Ystad Concert - A Tribute To Jan Johansson
Jan Lundgren / piano
Mattias Svensson / bass
Bonfiglioli Weber String Quartet

Recorded at Ystad Teater, Ystad Sweden Jazz Festival, July 30, 2015

Ystad: idyllic coastal town in Sweden, home to the "Wallander" TV series and enclave of superb jazz. Since 2011, the Ystad Sweden Jazz Festival has been presenting top international stars and outstanding music projects, in a program compiled with unerring good taste by the Artistic Director, pianist Jan Lundgren.
On 30 July 2015, he himself took to the festival stage together with bassist Mattias Svensson and the Bonfiglioli Weber String Quartet to pay tribute to one of the founding fathers of Swedish jazz music: pianist Jan Johansson (1931 - 1968). Alongside the recently deceased Bengt-Arne Wallin, Johansson set the direction for Swedish - yes even Scandinavian - jazz and how it is perceived in the rest of the world, with his recourse to the indigenous folk music. His duet recording from 1963 (with bassist Georg Riedel) "Jazz på svenska" was to become a timeless guiding light for this kind of Nordic improvisatory music.
Jan Lundgren is also rooted in the Johansson tradition: Nordic Vemod and impressionist spirit embedded in the American jazz piano tradition combine to make his personal style. He too has already worked through the Swedish folk music genre. With "Swedish Standards" Lundgren landed a surprise hit in 1997. At "The Ystad Concert", Lundgren once again shows himself to be a worthy successor of Jan Johansson, who breathes new and unfamiliar life into folk music classics. This music had never before been heard played this way by a string quartet.

I have played together with many fine jazz musicians during my long music career. One of those who has meant most for me is Jan Johansson. When we were recording "Jazz på svenska" in the 60's I didn't understand that this was a stroke of genius on Jan's part. Was it even jazz music? There were no drums and no traditional "swing". But Jan Johansson was far ahead of his time. He created a Scandinavian sound in his jazz music.
In the 60's many "experts" were critical to this project. Was there even any point to releasing a record? The audience thought differently. It became Sweden's bestselling jazz record of all time.
Today the distinction between different music genres isn't as clear as it was when I began to play in the 50's and 60's. The awe and respect for Jan Johansson is also no longer an obstacle for today's musicians to preserve his legacy and approach Jan's interpretations of Swedish folklore.
A very worthy representative of Swedish piano jazz is Jan Lundgren. He even dares to play the same notes as Jan Johansson, and still it sounds different. You immediately hear that it is Jan Lundgren and not Jan Johansson. That is how it was with Johansson as well. A few notes and you could hear who was playing.

The use of a string quartet is also entirely in the spirit of Jan Johansson. Crossing boundaries was natural to him. The Russian ("Jazz på ryska") and Hungarian ("Jazz på Ungerska") recordings aren't as iconic as "Jazz på svenska". This is why Jan Lundgren's rendition becomes more independent of the original. A natural progressing in Jan Johansson's spirit. It's wonderful that this music has gained new life!
(Georg Riedel)

219 kr
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