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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 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 String Quartets Opp 42, 77 & 103
‘Does it need saying that they’re awfully good?’ was The Strad’s rhetorical take on the Takács Quartet’s previous Haydn recordings for Hyperion. With more marvellous Haydn on offer here, it’s a verdict which listeners will certainly share.

169 kr
Image Symphonies Nos. 4 & 16 (SACD)
The Norrköping Symphony Orchestra has a long history of performing and recording the still relatively unknown Swedish composer, Allan Pettersson (1911-80). This began in the late 1970s with Okko Kamu's blistering rendition of the Symphony No. 6, followed by a series of BIS recordings with Leif Segerstam in the 1990s, and continuing now with the ever-energetic Christian Lindberg. In this concert Lindberg conducted both the Symphony No. 16 and 4, as part of the orchestra's goal to record the complete symphonies of Pettersson for BIS. It is likely that no one in the past has attempted two Pettersson symphonies in one program, and it is unlikely that this will ever happen again.


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.


LINER NOTES GEORG RIEDEL:
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
Image Symphonies Nos. 7 & 11
Norrköping Symphony Orchestra
Leif Segerstam, conductor


169 kr
Image Symphony No. 2; Violin Concerto
169 kr
Image Complete Harpsichord Music (6CD)
The son of a Weimar-based organist, Johann Krebs (1713-1780) entered the Thomasschule in Leipzig under the tutelage of Capellmeister Bach at the age of 12 in 1726. There he remained for the best part of a decade, and a glowing testimonial from Bach commended his talents on the clavier, violin and lute, as well as in composition. Krebs never attained the Leipzig post which his instrumental talents deserved, but he served as an organist in several churches south of Leipzig through the course of a long and distinguished professional life which reached fruition as organist at the court of Prince Friedrich of Gotha-Altenburg from 1755 onwards. The inveterate traveler and commentator Charles Burney reported that ‘M. Krebs of Altenburg, scholar of Sebastian Bach, has been much admired for his full and masterly manner of playing the organ.’ The style of Krebs’s own music reflects the transitional period in which he lived. The hand of the master lightly guides the cosmopolitan elegance of the three partitas on album 1 of this collection. Krebs compiled a Clavier-Übung (Keyboard Practice) of his own in 1744, from which Michele Benuzzi performs a C major suite and, six lively Italianate sonatas. A volume of six suites from 1746 shows the influence of the galant style which was coming into fashion at the time, embodied by the output of Bach’s most accomplished son, Carl Philipp Emanuel. Several more suites here are sophisticated examples of Krebs’s mastery in the ‘French and Italian taste’ as well as demonstrating the fluency of his keyboard writing and the craftsmanship of his counterpoint. This important collection joins several other albums of little-known keyboard music from the period, recorded for Brilliant Classics by Michele Benuzzi. A student of Ottavio Dantone, he has performed the complete sonatas of Scarlatti and given recitals at major festivals in Europe and Asia.

249 kr
Image Symphony No. 2 in D Major, Op. 73 & Academic Festi
Högsta betyg till Blomstedt!
”Första satsen börjar lite försiktigt men allteftersom musiken rullar på så ökar intensiteten och allt drivs fram emot en lysande finalsats som både glimrar och känns fri i sitt uttryck. Jag har hört otaliga Brahmstvåor genom åren och det är mycket få som har lyckats med det konststycket.” (Staffan Sundkvist, Capriccio.se)

”Blomstedt svarar för en tolkning där den lyriska och trösterika musiken verkligen får sjunga. Det var länge sedan jag hörde sådan kontrastrikedom och glöd!” (Axel Lindhe, Opus)


Maestro Herbert Blomstedt and the Gewandhausorchester Leipzig continue their integral Brahms symphonies project with a recording of the composer’s Second Symphony in D Major, alongside his Academic Festival Overture. Although idyllic and pastoral at first sight, Brahms himself remarked that he had “never written anything so sad”. Blomstedt and the orchestra bring out all the different moods and colors of this exceptional work, while the Academic Festival Overture provides a jubilant, glorious conclusion. Blomstedt’s work as a conductor is inseparably linked to his religious and human ethos, and his interpretations combine great faithfulness to the score and analytical precision with a soulfulness that awakens the music to pulsating life. In the more than sixty years of his career, he has acquired the unrestricted respect of the musical world. The Gewandhausorchester Leipzig is the oldest civic orchestra in the world with a glorious history, and is still counted among the world’s leading ensembles. Their PENTATONE debut with Brahms’ First Symphony and Tragic Overture (2020) received rave reviews.

159 kr
Image 301
5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET

4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER

"Under sin turné i Australien och östra Asien år 2007 stannade Esbjörn Svensson Trio till några dagar i Sydney där de spelade in nio timmar fritt improviserad musik. Esbjörn Svensson omkom året efter, när den första skivan från Sydney, Leucocyte, var under utgivning. Nu kommer nästa skiva från samma session, kallad 301 efter studion där inspelningen ägde rum. För egen del tyckte jag att Leucocyte var ett av trions bästa album. Den täta gruppdynamik som präglade all musik som Esbjörn Svensson skapade med sina medmusiker Magnus Öström på trummor och basisten Dan Berglund kunde ibland bli ett självändamål, som om det svällande ljudmassivet formades i en egen rymd likt en installation som var sig själv nog. Det var som om musikens skulpturala kvalitet slöt sig kring uttrycket och hämmade idéernas fria flöde. Det var en tendens som kunde göra mig en aning främmande inför gruppens musik, trots Svenssons glimrande pianospel och det absoluta samförståndet musikerna emellan. Därför kom de mer sökande improvisationerna på Leucocyte som en befrielse för mig. De öppnade sinnena på nytt för det som trots allt var unikt i trions musik. Den öppnare inställningen präglar även albumet 301. I ett stycke som Houston, the 5th får de elektroniska svävningarna en stark konkretion i brytningen mot de mjukt lyriska tonföljder i Keith Jarretts anda i början av Three falling free part I, som följer direkt efter. De diskreta tonföljderna får tydligare riktning när Esbjörn Svenssons piano interpunkteras av de andra musikerna, och uttrycket intensifieras för att på nytt söka sig mot tystnaden. I det följande stycket, Three falling free part II, ger Magnus Öströms seriella trumimprovisationer en grund för ett friare sökande, där de smattrande trummorna närmast tvingar fram allt tyngre stråkdrag och flygelackord. Det mullrar förföriskt, samtidigt som musiken tycks dra i en rörelse neråt, mot en absolut konkretion i den tidiga frijazzens anda där vi också hör ekon av Peter Brötzmann och Cecil Taylor. Så bryts två rörelser mot varandra i musiken, en konkret och nedåtgående rörelse mot en öppnare rumslighet där pauser och tystnader får samma laddning som det varsamma sökandet. Och allt sker i ögonblicket, i en paradoxal förening av förtätning och öppenhet där varje idé direkt får ett svar, eller vidareförs i ett vackert eko, hos de andra musikerna. Samförståndet är absolut, och musikens skulpturala kvaliteter ger nya vinklar i stället för att sluta den."
(Svenska Dagbladet)

"From Gagarins point of you är inte bara en av de vackraste låt- och albumtitlar jag vet. Den säger också nästan allt om det sökande efter nya horisonter, rymder och djup som gjorde e.s.t. till en av världens ledande jazzgrupper. En resa mot gravitationens yttersta gräns som fick ett brutalt slut 2008 när trions pianist Esbjörn Svensson omkom i en dykolycka. Efter det postumt utgivna albumet "Leucosyte" kommer nu "301", även det sammansatt av de improvisationer som spelades in under en världsturné i studio 301 i Sydney. Ett album som inte äger föregångarens täthet och rasande energi men som i stället uppvisar trions unika spännvidd mellan avancerade lekar med det mest komplexa och innerliga fantasier kring det allra enklaste, mellan fri flykt och stille­stånd. Från inledningsspårets atmosfäriska pianoskimmer (kring en enda ton) utvidgas uttrycken mot den formupplösning vid albumets mitt där bara elektroniken kan ta vid. Ett yttersta läge som följs av ett furiöst ensemblespel innan pianot slutligen öppnar för en ny och djupare känsla av hemkomst."
(Dagens Nyheter)

Line Up:
Esbjörn Svensson / grand piano, electronics, transistor radio
Dan Berglund / double bass, electronics
Magnus Öström / drums, electronics, voices

Performed and produced by e.s.t.
Recorded January 2007 at Studio 301, Sydney, Australia

All songs composed by Esbjörn Svensson, Dan Berglund and Magnus Öström


219 kr
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