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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
Image Baroque Concertos with Recorder - Treasures from S
Emelie Roos & Höör Barock

The Swedish virtuoso recorder player Emelie Roos is a multifaceted musician. Having grown up with folk music, violin, recorder and singing, Emelie is today active as a soloist, chamber musician, pedagog and producer. Emelie has played together with the leading Baroque orchestras and ensembles of Sweden. She has been engaged as a soloist with both symphony orchestra and string orchestra, and as a theater musician in theater and opera house. As artistic director of Höör Barock, Emelie has, together with lutenist Dohyo Sol, managed to create an international centre of Early Music in their small hometown.
Emelie studied recorder at the Royal Danish Academy of Music in Copenhagen and The Royal College of Music in Stockholm. Emelie is the recipient of numerous awards from he Royal Swedish Academy of Music.


In the little village of Höör in the South of Sweden a Baroque ensemble has emerged, consisting of professional musicians within the early music scene. With a successful annual summer festival, and invitations to perform throughout Sweden,Denmark, Germany and Austria, Höör Barock has firmly established itself as one of Sweden’s leading Baroque ensembles.
They have released three cds on the BIS label, each to international critical acclaim: “Bach, Telemann, Corelli” and “Golovinmusiken”, both of which were recorded under the artistic leadership of recorder player Dan Laurin, and “L’Orfeo”, which is a collaborative project with Lundabarock. “Golovinmusiken” was awarded a Swedish “Gammis” for best Classical release of 2020. Their recordings are played regularly on Swedish Radio P2, and have received Worldwide recognition.

159 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 Complete Organ Music (9CD)
Giovanni Battista Martini (1706-1784) was born in Bologna, in that era part of the Papal States. His father, Antonio Maria Martini, a violinist, taught him the elements of music and the violin and he later learned singing and harpsichord playing and the art of counterpoint from Giacomo Antonio Perti. Having received his education in classics from the priests of the "Congregation of the Oratory of Saint Philip Neri”, he became a priest himself in 1722. In 1725, though only nineteen years old, he received the appointment of chapel-master at the Basilica of San Francesco in Bologna, where his compositions attracted attention. At the invitation of amateurs and professional friends he opened a school of composition at which several celebrated musicians were trained; as a teacher he consistently declared his preference for the traditions of the old Roman school of composition. Martini was a zealous collector of musical literature, and possessed an extensive musical library, estimated at 17,000 volumes. Among his many students was…Wolfgang Amadeus Mozart, who held him in high regard and always spoke fondly of him. “Padre” Martini, as he was called, wrote an immense oeuvre of more than 2500 works, many of them sacred vocal works. His keyboard works include more than 100 sonatas. This new recording presents the complete organ works of Martini, consisting mainly of Sonatas, but also shorter pieces like fugues, toccatas and preludes. In his earlier works Martini adopted the style of his illustrious predecessors, the masters of Baroque counterpoint, later he wrote in a less learned, more elegant and “pleasant” style, according to the demands of his audience. Played on a variety of historic Italian organs from the 18th century by Manuel Tomadin, one of the foremost Italian organists of today, a scholar and passionate musician, with an impressive discography to his name.

359 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 Symphonies Nos. 7 & 11
Norrköping Symphony Orchestra
Leif Segerstam, conductor


169 kr
Image Symphony No. 2; Violin Concerto
169 kr
Image Then Svenska Messan
Toppbetyg i Musikrevyn och Capriccio.se!
”Ett ljudbad att kliva ned i som man blir både glad och varm i själen av. Det spelas på liten sättning – men låter mycket!” (Musikrevyn i P2)

"Vill du höra något mer av Roman än den obligatoriska Drottningholmsmusiken, så har du nu chansen. En så mycket bättre inspelning av Romans Then Svenska Messan lär inte dyka upp i överskådlig framtid." (Per Nylén, Capriccio.se)

Högt betyg 4 (av 5) i DN!
”Mycket har hänt med hur man får liv i barockmusik, såväl vokalt som instrumentalt, vilket Göteborg Baroque med eftertryck ger prov på. Det bubblar, fräser, viner och bär iväg med en oemotståndlig rytmisk lätthet och klanglig lyster i alla de tretton satserna.” (Martin Nyström, Dagens Nyheter)



Göteborg Baroque is pleased to announce the release of Johan Helmich Roman’s Then Svenska Messan, one of the most significant and beloved works in Swedish music history. Roman was a pioneer who was far ahead of his time, and today we see him as the founder of our modern musical culture. Göteborg Baroque has received accolades for its rigorous study and expressive presentation of older music in a way that makes it engaging for an audience today. With this recording, we are proud to be able to introduce this important work to an international audience.


159 kr
Image Two Orchestral Suites & Three Arias
Karlsson Barock is possibly the most prominent string ensemble for Baroque music in Northern Europe. On this album, Two Orchestral Suites & Three Arias, the orchestra is expanded with three woodwind play-ers from another important Swedish ensemble: The Drottningholm Baroque Ensemble. The first piece on this album is the orchestral suite by Georg Philipp Telemann, Ouverture-Suite in C Major, TWV 55:C6. Telemann’s Orchestral Suites – also known as ‘Ouvertures’ like Bach’s – were viewed as the pinnacle of the composer’s synthesis of Italian and French styles into something quintessentially German. As an interlude before Bach’s orchestral suite, we hear three arias from two tremendously popular operas at the time: Alcina by Georg Friedrich Händel and Farnaceby Antonio Vivaldi. To our great joy, the soprano part is performed by Helena Ek, a much-appreciated soloist for early music in Europe. Ms. Ek has an impressively extensive repertoire that spans from early music to con-temporary and she has teamed up with Göran Karlssonin several early music productions. Bach’s Orchestral Suite No. 1 in C Major, BWV 1066, concludes this wonderful album. Bach’s Four Orchestral Suites have helped challenge, alter and reshape what we understand about the composer. Mostly because we don’t often associate Bach, the sober Lutheran organist, with exuberant and joyful dance music. But these are works of considerable maturity and sophistication that deserve their place alongside the great scores of Bach’s last decades. From Footprint Records, we wish you an enjoyable listening.

159 kr
Image Concerti per violino X 'Intorno a Pisendel' (The V
This tenth volume of violin concertos marks the return of Julien Chauvin and his Concert de la Loge to the Vivaldi Edition, with works linked to Pisendel, a major musical figure in the court of Dresden in the 18th century. Julien Chauvin and his Concert de la Loge released a hugely successful volume of Vivaldi concertos with a theatrical theme in 2020. In this new album they perform works focusing on Johann Georg Pisendel (1687-1755), konzertmeister at the Dresden Court chapel, and pupil and friend of Vivaldi, who played a key role in the popularity of the Red Priest’s music in Dresden. It is thanks to the admiration and foresight of this eminent German violinist not only that the city possesses a considerable Vivaldi catalogue, but also that certain signed manuscripts were preserved that are to be found only in Dresden. This album comprises three concertos composed for him (RV 237, RV 314 and RV 340) and three others copied by his hand (RV 225, RV 226 and RV 369). All the many contrasts which mark Vivaldi’s concerto repertoire – whatever the instrument –are magnified here under the supple bow of Julien Chauvin: his close bond with Le Concert de la Loge flourishes in a free, rich and diverse discourse, fiery and passionate in the external movements, and lyric or gently melancholic in the central parts. Worth mentioning among the many examples are the splendid elegiac song of the Adagio in concerto RV 237 or the delicate slow movements accompanied by the pizzicato of the strings in concertos RV 314 and RV 226.

159 kr
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