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Image Nachtstucke und Arien



★ ★ ★ ★ ★
"The ORF Symphoniker and Marin Alsop succeed well in making audible Henze’s intention, the pain, sarcasm and terror inherent in the etchings. This also applies to the aspect that the introduction, theme and seven variations each have their own character, which the performers bring out."
– Pizzicato

★ ★ ★ ★ ★
"[...] som ville Hans Werner Henze sige: »Lyt, kærligheden findes«."
- Magasinet Klassisk

Hans Werner Henze was initially an avant-garde composer but Nachtstücke und Arien symbolised his departure from dodecaphonic writing, to the annoyance of his contemporaries Boulez, Nono and Stockhausen at Darmstadt. With this new direction Henze’s music became highly rhapsodic, as heard in the challenging but lyrical solo cello that suggests the intimate texts of the Englische Liebeslieder. Referring to Goya, Los Caprichos captures the strangeness of this artist’s visions with long-breathed melodic lines and fleeting changes of texture, from military-sounding bustle to moments of profound stillness. Marin Alsop is chief conductor of the ORF Vienna Radio Symphony Orchestra, which she leads at Vienna’s Konzerthaus and Musikverein, and on recordings, broadcasts and tours. Her discography includes acclaimed Naxos recordings of symphonies by Brahms with the London Philharmonic, Dvor?ák with the Baltimore Symphony, and Prokofiev with the São Paulo Symphony. The first and only conductor to receive a MacArthur Fellowship, Alsop received the World Economic Forum’s Crystal Award and was the first woman to conduct the BBC’s Last Night of the Proms. She is director of graduate conducting at the Peabody Institute and holds honorary doctorates from Yale University and The Juilliard School.

kr. 119,95
Image Bach Before Bach
★ ★ ★ ★ ★
"[...] et vigtigt nedslag i violinhistorien."
- Magasinet Klassisk

In the Europe of the first half of the seventeenth century, instrumental music became a source of sonic and expressive experimentation. Influenced by vocal rhetoric, composers sought to replace words with a new musical language. The virtuosity of the instrumentalists developed, as did invention, improvisation and the search for surprising sonorities. Along with the organ or the harpsichord, the violin was the instrument of choice for experimenting with these new techniques. Italian and German composers of the seventeenth and eighteenth centuries such as Farina, Schmelzer, Mealli, Buxtehude, Biber, Pisendel and Bach vied with each other in imaginativeness... The violinist Chouchane Siranossian and the harpsichordist Leonardo García Alarcón – both loyal Alpha Classics artists – have chosen to explore this repertory, here including Bach’s sonatas BWV 1019, 1021 and 1023 among other pieces.

kr. 149,95
Image 24 Preludes for Violin and Piano & Oskolki
★ ★ ★ ★ ★
"Skønhed midt i kaos."
- Magasinet Klassisk

A renaissance artist for modern times, Lera Auerbach is a widely recognized conductor, pianist, and composer. She is also a published poet and an exhibited visual artist. All of her work is interconnected as part of a cohesive and comprehensive artistic worldview. Born in the Russian city of Chelyabinsk in the Ural Mountains at the gateway of Siberia, Lera Auerbach has become one of today’s most sought after and exciting creative voices. Her performances and music are featured in the world’s leading stages – from Vienna’s Musikverein and London’s Royal Albert Hall to New York’s Carnegie Hall and Washington D.C.’s Kennedy Center. Auerbach’s exquisitely crafted, emotional, and boldly imaginative music reaches to global audiences. Orchestral collaborations include the New York Philharmonic, Philadelphia Orchestra, National Symphony, Oslo Philharmonic, Munich’s Bayerisches Staatsorchester, Staatskapelle Dresden, and Vienna’s ORF Radio-Symphonieorchester, among many others. Auerbach’s works for orchestra are performed by the world’s leading conductors, including Christoph Eschenbach, Alan Gilbert, Vladimir Fedoseyev, Neeme Järvi, Vladimir Jurowski, Charles Dutoit, Andris Nelsons, Osmo Vänskä, Hannu Lintu, and Marin Alsop, to mention only a few.

kr. 149,95
Image Enigma
★ ★ ★ ★ ★
"Ingen, der er interesseret i moderne nordisk musik, bør være foruden indspilningerne [...]."
- Magasinet Klassisk

If you would, coax your mind back to a time when you believed ducking your head beneath the covers was ample defense against the bogeyman. Do you remember, in the haze of half-sleep, seeing something or someone in your room that didn’t belong? As you breathlessly flicked on the light, you were relieved to find it was only a chair lopsided with laundry, or a vacuum propped against the doorframe. That faint halo of light, surrounding this once sinister and now innocuous object, that is the penumbra – that permeable border between light and dark. This is the space where Enigma lives. We’ve all been living in an in-between of sorts for the last year, haven’t we? Nothing quite as poetic as the blend of blinding light and unfath- omable dark one encounters with an eclipse, an early touchstone for this composition it is worth noting. But we’ve done quite a bit of living in the grey area, which is maybe broader than we thought. The thing is, traveling to Virginia to record this album was in some ways the first glint of hope on the horizon...well...that there was still a horizon. This album is the result of a multi-year alchemy between the singular writing of composer Anna Thorvaldsdottir and the playing of three-time GRAMMY nominees Spektral Quartet. The first string quartet composed by Thorvaldsdottir, Enigma is simultaneously colossal and introspective, moving between heart-wrenching chord progressions and the scrapes and clicks of extended string techniques. A piece of profound emotional magnitude, Enigma provokes considerations of our relationship to the vast cosmos that surrounds us – and the infinite universe within.

kr. 99,95
Image The Fiery Angel (DVD)
★ ★ ★ ★ ★
"Det østrigske radioorkester leverer et brillant og kirurgisk præcist orkesterspil [...]."
- Magasinet Klassisk

Renata is obsessed with the love for the “fiery angel”. Ruprecht, in love with Renata, wants to free her from the madness, but all his efforts are in vain. She goes to the monastery, but here too she is being haunted by the image of the fiery angel. The Inquisition accuses Renata of witchcraft and sentences her to death. Prokofiev's Fiery Angel is one of the outstanding operas of the 20th century. With her production, director Andrea Breth moves the action from 16th century Germany to the sterile environment of a modern psychiatric ward. The atmosphere of this prison-like place is somber. “Musically gripping, scenically intense” (Wiener Zeitung) / A scenic sensation” (Kurier) / “Aušrine Stundyte succeeds in her singing balancing act between eruptive power and vulnerability” (Die Presse)

kr. 239,95
Image The Snow Queen (DVD)
★★★★★ Kristeligt Dagblad
Men den tekniske kvalitet af denne indspilning – og det gælder både lyd og billede – er så eminent, at man oplever det, som om man selv er til stede i Bayerisches Staatsopers smukke sal.

★ ★ ★ ★ ★
"Gerdas parti er drabeligt, og den canadiske sopran Barbara Hannigan gestalter det perfekt."
- Magasinet Klassisk

The Snow Queen is Hans Abrahamsen’s first opera, composed to a self-penned libretto, based on Hans Christian Andersen’s eponymous fairy tale. Following an in-depth study of the topic of snow and a life-long obsession with Andersen’s fairy tales, Abrahamsen composed the opera between 2014 and 2018. Hans Abrahamsen’s music, with its smooth transitions and subtly modified repeats, lends the lyrics both depth and lightness. He is keen to point out the range of avenues for interpretation available. ” It’s possible to read the fairy tale in a variety of ways. It contains many mysteries which are open to numerous interpretations.” Accompanying Barbara Hannigan is a top-class ensemble of singers, including Peter Rose, Katarinya Dalayman and Rachael Wilson. Cornelius Meister is the musical director, currently general music director at the Staatsoper Stuttgart. Director Andreas Kriegenburg’s production of The Snow Queen is a touching story by adults, for an adult audience, offering a journey into the innermost regions of the human soul. Recorded during the premiere run in the presence of the composer and in close collaboration with him, this release captures an important work of new musical theatre.



kr. 279,95
Image Kodaly & Ligeti: Lux Aeterna - Choral Works
"[...] it’s hard to imagine better performances than they receive here."
- Barry Forshaw

★ ★ ★ ★ ★
"[...] a haunting prayer for peace that must have seemed as urgent in 1938 as it does now."
- BBC Music Magazine

★ ★ ★ ★
"DR Vokalensemblet, der består af 18 professionelle sangere, dirigeres af dets faste leder siden 2014, den 70-årige englænder Marcus Creed, og sangerne gør det ikke overraskende eminent"
- Kristeligt Dagblad

"It is precisely this choir, this wonderful, supple vocal ensemble, ready for the subtlest nuances and managing the most differentiated colors, that lifts Ligeti’s and Kodaly’s music above what one is accustomed to hearing."
- Pizzicato

"Endnu et stærkt udspil fra DR’s eliteensemble."
- Information

★ ★ ★ ★ ★
"[...] one of the great choral recordings of our time."
- Fanfare (US) 1st


★ ★ ★ ★ ★
"[...] fremragende udgivelse."
- Magasinet Klassisk

I det meste af det 20. århundrede var de to giganter af ungarsk musik Bartok og Kodaly. Efter hans eksplosion ind på den internationale scene i midten af ??60'erne blev Gyorgi Ligeti, en elev af Kodaly, tilføjet til denne liste. Kodaly var en af ??de mest betydningsfulde tidlige skikkelser inden for etnomusikologi. Han komponerede også flittigt for kor.
Alle Kodaly-værkerne på dette program var påvirket af folkemusik og kortlægger komponistens udvikling fra senromantikkens verden til minikantaten Matrai kepek (Matra-billeder), inklusive en glitrende fremførelse af Esti Dal (Aftensang), hans mest elskede korværk.
Det meste af musikken, som Ligeti komponerede til a cappella-kor, blev skrevet i midten af ??50'erne, mens han stadig var i Budapest. Ved siden af ??talrige folkesangs-arrangementer, som Mátraszentimrei Dalok, var der stykker som Éjszaka – Reggel (Nat – Morgen), som allerede rykkede de soniske grænser med klynger og onomatopoiske lyde. Ligetis modne stil kan høres i den glitrende og med rette berømte Lux Aeterna, mens afdøde Drei Phantasien (på tekster af Friedrich Holderlin) af Ligeti selv beskrives som "emotionelle, "onomatopoetiske", overdrevne, 16-stemmige stykker (ikke mikropolyfoniske!)" er et eksempel på hans sene postmodernistiske stil. Til dette helt særlige og krævende repertoire er både lærer og elev i gode hænder hos Det Danske Vokalensemble og dirigent Marcus Creed.

Audiofile vil også blive rigt belønnet med den levende billeddannelse og "så virkelig som det kan blive" soniske tilstedeværelse. En Dolby Atmos -udgivelse er ved at blive planlagt

kr. 139,95
Image Fidelio (DVD)
★ ★ ★ ★ ★
"[...] har sjældent lydt så indtagende og vedkommende som her."
- Magasinet Klassisk

"Tobias Kratzer’s new staging rips Beethoven’s only opera in two to bring contemporary resonance… the singing is superb"
– The Guardian

Beethoven’s only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, David Butt Philip plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as ‘Fidelio’) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime. The music is transcendent throughout, with highlights including the famous Act I Quartet, the Prisoners’ Chorus and Florestan’s aria, which conjures hope from the depths of despair. Tobias Kratzer’s new staging brings together the dark reality of the French Revolutionary ‘Terror’ and our own time to illuminate Fidelio’s inspiring message of shared humanity.

kr. 205,00
Image Rusalka (2DVD)
GRAMOPHONE EDITORS' CHOICE

"The trio of lively woodsprites are well blended, Rachel Kelly impressing with her silky mezzo along with Julietta Aleksanyan and Alyona Abramova. Highly recommended." Gramophone



★ ★ ★ ★ ★
"Iscenesættelsen på Teatro Real i Madrid er æstetisk smuk, vækker til eftertanke og giver plads til sangerne."
- Magasinet Klassisk

Rusalka returns to Madrid “on an overwhelming level that will leave its mark”. (El Español) Mesmerizing soprano Asmik Grigorian, “already one of the most outstanding sopranos of her generation“ (Online Merker) stars with a “voice, at its zenith of maturity“ (El Pais) in the title role of Christoph Loy’s timeless and evocative staging of Dvorak’s tragic take on the Little Mermaid fable. Especially „the direction of dancers and extras in the second act is a virtuoso performance by Loy and his choreographer.“ (El Pais) “Musically, this Rusalka is of immense quality, no doubt due to the spectacular work of Ivor Bolton.“ (El Español)

kr. 279,95
Image Der Freischutz (2DVD)
★ ★ ★ ★ ★
" ... herlig energi og følsomhed ..."
- Magasinet Klassisk, 2022

Christian Räth’s inspired staging of Der Freischütz, Weber’s seminal Romantic opera, at the Haus am Ring stands out due to the bold set and costume design by Gary McCann. It was “a festival of singers, that the young conductor Tomas Netopil underscored with the State Opera Orchestra with warmth. Andreas Schager, the immense Heldentenor, as Max, Camilla Nylund as the touching Agathe - a magnificent pair. The other roles were also well cast … “ (Salzburger Nachrichten) The production was recorded live at the Wiener Staatsoper in June 2018.

kr. 339,95
Image Partitas & English Suites, Vol. 3 (2CD)
★ ★ ★ ★ ★
" ... indsigtsfuld og original ... "
- Tobias Lund, 2022

Niklas Sivelöv er nu aktuel med hele to dobbeltalbum med Bachs Partitaer & Engelske Suiter og er dermed den første skandinaviske pianist nogensinde til at indspille alle Bachs klaverværker: Das Wohltemperierte Klavier, alle partitaer, de engelske suiter, inventioner og sinfonias!

Bach skrev tre vigtige sæt suiter til tangentinstrumenter: de engelske suiter, de franske suiter og partitaerne. De engelske suiter er blandt de tidligste af Bachs værker for tangentinstrumenter (bortset fra for orgel), skrevet eller samlet før 1720, og stammer højst sandsynligt fra Bachs tid i Weimar eller de første år i Köthen. Der er intet engelsk over musikken, på trods af titlen. Samlingen menes at være skrevet til en gæstende englænder, hvilket understøttes af brugen af G-nøgle igennem hele værket, som dengang var standard i England, men ikke i Tyskland.

Partitaerne stammer fra Bachs Leipzig-periode (1723-til sin død). Her er eksempelvis Partita nr. 6 i e-mol på Vol. 2 med den kendte fjerde sats, Air, efterfulgt af en bevægende sarabande af en vis ornamental kompleksitet. Denne partita indeholder også den bemærkelsesværdige sidste gigue og anses generelt ikke kun for at være den fineste af Bachs partitaer, men en af hans største værker.

Der er meget dybde at finde på Vol. 3, hvor man kan høre partitaerne 4 og 5 samt de resterende suiter. Oplev nuancerne, når den fjerde partita åbner med en fransk ouverture i standardform, og partita nr. 5 med et hurtigt Praeambulum af improvisatorisk karakter, hvor Niklas Sivelöv inkluderer elementer, der viser ham som en bemærkelsesværdig improvisator, mens han samtidig forbliver tro mod Bach.

kr. 99,95
Image Mozart & Birchall: Clarinet Concertos
★ ★ ★ ★ ★
"[...] emmer af respekt for instrumentet og de traditioner, der er forbundet med det."
- Peter Dürrfeld

The two concertos performed here by Michael Collins and the Philharmonia Orchestra were both intended for a specific player – Mozart composed his for Anton Stadler and Richard Birchall for Michael Collins himself. Both works – as well as Mozart's Clarinet Quintet – were also written for a particular instrument: the basset clarinet, a slightly larger and deeper clarinet than the one in A which soon after Mozart had written his concerto became the standard. At the very core of the clarinet repertoire, the two works by Mozart have until recently been played on the A clarinet, with necessary adjustments being made to the solo part. Nowadays, however, they are more and more often performed on the instrument they were intended for. Richard Birchall, in his Concerto for Basset Clarinet, also makes the most of the basset clarinet's extended range, for instance in the third movement, Impossible Construction. That movement, and indeed the whole work, is inspired by the artwork of M. C. Escher and its combination of surreal elements and mathematical precision. With the two concertos, Michael Collins continues his long-standing collaboration with the Philharmonia Orchestra, which includes an acclaimed recording on BIS of works by Vaughan Williams and Finzi. For the Clarinet Quintet he has invited his colleagues from the Wigmore Soloists, the chamber ensemble that he leads together with Isabelle van Keulen.

kr. 149,95
Image Quatuor pour la fin du Temps
✽ ✽ ✽ ✽ ✽
"Du lytter med tilbageholdt åndedræt."
- Gregers Dirckinck-Holmfeld

Messiaen's most famous work, Quatuor pour la fin du temps (Quartet for the End of Time), was composed while a captive in a German prisoner of war at Stalag VIII A, located near the town of Görlitz-Moys in Silesia, Germany. Messiaen met there three fellow prisoners who were also accomplished musicians: Etienne Pasquier, a world-class cellist who had already secured an international reputation as a member of the Pasquier Trio; Jean Le Boulaire, a violinist who had studied at the Paris Conservatory; and Henri Akoka, a clarinetist who was a member of the Paris-based Orchestre National de la Radio. Together, this unusual ensemble formed the basis for one of the most extraordinary works of the 20th century. Rooted in his deeply Christian faith, the Quatuor is inspired by the 10th chapter of the Book of Revelation. It was also Messiaen's first composition to include bird song, in addition to his developing use of color imagery, and his continuing exploration of many interesting and novel ways of rhythmic organization to create a feeling of timelessness. Two of the most highly esteemed classical musicians in Denmark, violinist Christina Åstrand and pianist Per Salo (AKA Duo Åstrand/Salo) are joined by two colleagues from The Danish National Symphony Orchestra, Johnny Teyssier, clarinet, and Henrik Dam Thomsen, cello for a performance as pure as crystal and as immense as space.

kr. 139,95
Image Mathis der Maler (2DVD)
★ ★ ★ ★ ★
"Den tyske baryton Wolfgang Koch gestalter Mathis med al den
menneskelige varme, man kan ønske sig"
Magasinet Klassisk

★ ★ ★ ★
"The visionary story of an artist caught up in social turmoil still resonates in this superbly conducted production" The Guardian

"Magnificent… monumental production" British Theatre Guide

★ ★ ★ ★ ★
"Maler med dramatisk nerve"
- Klassisk


Hindemith conceived Mathis der Maler, his ‘opera in seven tableaux’, as a reimagining of Matthias Grünewald’s Isenheim Altarpiece, a depiction of Christ’s intense suffering and crucifixion. Set during the turbulence of the German Peasants’ revolt in the early 16th century, the work’s focus is on artistic freedom of expression and human isolation during a time of plague, repression and violence. Hindemith wrote his own libretto finding in Grünewald a metaphor for his own times. Performances of the opera in Germany were duly banned by the Nazis.

kr. 189,95
Image Rachmaninoff, Medtner & Tchaikovsky: Piano Works
★ ★ ★ ★ ★
"It is rare to encounter an artist who plays Russian music with such deep understanding"
- Quartz Music

Interviewed by Musical America in 1921, Rachmaninoff was asked: “would you agree that the heart should be the composer’s guide through the labyrinths of accepted forms?” “Yes”, he replied, “the heart above all. Of course, the head must aid in the building of great musical structures, but by itself the head is impotent. If a composer is devoid of heart or hasn’t his heart in the right place, it is impossible for him to conceal his deficiency. This explains why Russian music is so superlatively great; it speaks so directly to the heart. That is what gives it its vital beauty, its universality of appeal, and thus all great art is universal and national in character– it were better to say local instead of national – at one and the same moment.” It is perhaps for this reason that young pianist Nikolay Medvedev has chosen a program of Russian piano masterpieces for his debut album.

kr. 139,95
Image Schnee
Editors Choice
"The sound world of Abrahamsen’s Schnee – ‘snow’ – is beguiling in its balance of mysterious fragility and strength, and masterfully performed and recorded here."
- Gramophone

★ ★ ★ ★
...this performance... seems to capture both the rigour and feathery fragility of Abrahamsen’s instrumental writing. The Guardian

★ ★ ★ ★
"Obviously they know snow inside out."
- The Times

"A very entertaining hour of finely chiseled tones, constantly teasing the ear but rarely annoying, is the result of this intense clarification of the composer’s intentions."
- Pizzicato
Læs resten her

"… laplandske musikere måtte være blandt de nærmeste til at sætte sig ind i sneens poetik. Det lyder sådan, for det er en opførelse, der bærer præg af hver musikers dybe tilegnelse af Abrahamsens komplekse verden."
- Information



"Schnee is many things—introspective, enigmatic, poetic, thought-provoking—but is above all else meticulously crafted and conceived."
-textura


Hans Abrahamsen's Schnee (2008) is a gorgeous marvel which encapsulates winter. The instrumental cycle, already a classic of the twenty-first century, comprises a set of ten canons making up an hour of ghostly, feathery music. There is no hurrying, but great depth. As Abrahamsen himself says: ‘In Schnee, a single moment is stretched as far as possible. At some point, the music disappears. There is just a breath of air left’. Founded in 1972, Lapland Chamber Orchestra is the most northerly professional chamber orchestra in Finland and indeed in the entire EU. The orchestra has 18 full-time members and its Artistic Director is conductor John Storgårds. The first ever Principal Guest Conductor, for 2019-2021, is Tomas Djupsjöbacka. Based in Rovaniemi, the orchestra is a regional orchestra that regularly tours the Province of Lapland, but also performs elsewhere in Finland and abroad. The orchestra has performed in festivals such as Savonlinna Opera Festival, Helsinki Festival, the Korsholma Music Festival and the LuostoClassic event. The latest tours abroad have taken the orchestra to Canada, Hungary, Austria, Algeria and the BBC Proms in London.

kr. 149,95
Image Nielsen & Sibelius: Violin Concertos
Carl Nielsen and Jean Sibelius, alongside Grieg the two giants in Nordic classical music, were both born in 1865. Both also received their first musical training on the violin, earning valuable insights when it came to writing for the instrument. Their respective violin concertos were composed some six years apart – Sibelius’ in 1904-05 and Nielsen’s in 1911 – and belong to the most performed works of either composer. They are nevertheless as different from each other as are the artistic temperaments of their makers. While retaining the traditional three-movement concerto form, Sibelius composed something closer to a Late-Romantic orchestral tone poem giving the orchestra unusual prominence. Nielsen on the other hand opted for an unconventional form, reminiscent of the Baroque concerto grosso: the spiky, neoclassical work is nominally in two movements, but with each movement having a slow and a fast section. These works are here performed by Johan Dalene, the Swedish-Norwegian winner of the 2019 Nielsen Competition. The present disc is the 21 year old violinist’s third release on BIS, following a recording of the Tchaikovsky Concerto described as ‘one of the finest violin débuts of the last decade’ in BBC Music Magazine, and an all-Nordic violin-and-piano recital awarded distinctions such as Diapason d’or and Gramophone’s Editor’s Choice. Dalene is given the expert support of the Royal Stockholm Philharmonic Orchestra and conductor John Storgårds, incidentally a violin soloist in his own right.

kr. 149,95
Image Haydn, Mozart, Beethoven, Brahms (4CD)
★ ★ ★
"(...) orkestret spiller forrygende." Peter Dürrfeld, Kristeligt Dagblad

"This set is a testament to a remarkable collaboration between the conductor Nikolaus Harnoncourt (1929-2016) and the Chamber Orchestra of Europe (COE) and its release this year marks the Orchestra’s 40th anniversary.
These recordings also trace the relationship between Harnoncourt and the Styriarte Festival which started in 1987 and lasted for over 30 years."

kr. 339,75
Image Shostakovich & Arensky: Piano Trios
★ ★ ★ ★ ★ ★
"Det er i lange passager skarp sovs, men
hvilken begavet komponist og hvilken fremragende fortolkning!"
Peter Dürrfeld, Kristeligt Dagblad

Trio con Brio Copenhagen returns to Orchid Classics with a triptych of Russian piano trios: two works by Shostakovich framing music by Arensky. These Russian composers lived through turning points in their country’s history. Arensky died in 1906, the year in which Shostakovich was born, and their output charts the trajectory of Russian and Soviet political and artistic history during those years. Arensky’s ardent Piano Trio No.1 was written in 1894, when Russian Romanticism was at its peak. Inspired by young love, the 17-year-old Shostakovich wrote his Piano Trio No.1 Poème in 1923 in Petrograd (St. Petersburg), finding expression for strong personal emotions via a musical language influenced by film scores. Just over 20 years later, in 1944, Shostakovich wrote his Piano Trio No. 2. By making use of Jewish music for the first time, he gave the greatest tragedies of the age a voice, while at the same time creating a music that displays an irrepressible spark of life. “… both explosive and exquisitely intimate” (The Strad) “… an excellent performance all round, showcasing an airtight ensemble, but also these Danish-based musicians’ flair for coloristic detail.” (Gramophone)

kr. 139,95
Image Spirit of Bohemia
★ ★ ★ ★ ★
"Both works are pure joy to listen to" Kristeligt Dagblad

"(...) den amerikanske Fine Arts Quartet – Ralph Evans og Eim Boico, violiner, Gil Sharon, bratsch, og Niklas Schmidt, cello – præsterer kammermusik af ypperste karat med en helt igennem smuk klang og fin fornemmelse for Dvoraks musikalske særpræg" Peter Dürrfeld, Kristeligt Dagblad

"Intimate, chamber-style performances capture the music’s gentle charm" The Strad

Antonín Dvorák’s music, imbued with the spirit of Bohemia, reflects a love of his native land. His String Sextet, written in the distinctive style which brought him international fame, was an immediate success at its premiere. Composed just eight years earlier, his String Quartet No.4, unpublished until 1968, features pioneering, wild outer movements, highly unusual for the time, which foreshadowed the modernist innovations of composers decades later. A moving Andante religioso, which Dvorák made use of in future works, lies at its heart. The Polonaise exploits both the soulful and virtuoso character of the cello. Volumes 1–8 are also available.

kr. 119,95
Image History of the Russian Piano Trio, Vol. 5
❤️ ❤️ ❤️ ❤️ ❤️
"Vil man have en introduktion til russisk musik fra den romantiske og senromantiske epoke, (...) er ’History of the Russian Piano Trio’ tæt på genial" Thomas Michelsen, Politiken

"The three composers on this disc could hardly find better advocates than The Brahms Trio. On a dull day, you might pass these scores by, but this top-class ensemble restore their magic. Together with the excellent fourth volume and the preceding three, this ‘History of the Russian Piano Trio’ is a set to treasure" Gramophone

"Three masterpieces that have remained unheard over the course of a whole century!"

This album concludes The Brahms Trio’s five-volume survey of the piano trio in Russia with remarkable works by composers whose names have all but disappeared from the musical world’s collective memory. Vladimir Dyck, a student of Widor at the Paris Conservatoire, took French nationality in 1910 but his life came to a tragic end when he and his family were arrested in 1943 and sent to Auschwitz. His Piano Trio, Op. 25 contrasts Russian soulfulness with the lightness and deft scoring he brought to his film compositions. Constantin von Sternberg’s genial Op.104reflects his career as a virtuoso pianist, while Sergey Youferov’s expansive and nostalgic Op.52is a farewell to the Russian ‘Silver Age’, a world about to be destroyed by revolution.

kr. 119,95
Image Symphony No. 6, Op. 74 'Pathétique' & Romeo and Ju
❤️ ❤️ ❤️ ❤️ ❤️
"Desperationen gror, og efter
tredjesatsens vilde ridt indtræder
katastrofen i finalen"
Thomas Michelsen, Politiken

After two volumes praised by the international press (Diapason d'Or, Preis der deutschen Schallplattenkritik etc.) the Tonhalle-Orchester Zürich presents the third release in its Tchaikovsky cycle, featuring the Sixth Symphony and Romeo and Juliet. A boxed set of the orchestra’s complete Tchaikovsky recordings under Paavo Järvi is issued simultaneously. Tchaikovsky said he ‘put his entire soul’ into the Sixth Symphony. He admitted that his program was ‘more subjective than ever’ and that he ‘often [...] wept copiously’ while working on it. The overall atmosphere is created by the somber key of B minor and an obsessive sighing motif that recurs throughout the symphony. In Romeo and Juliet, Tchaikovsky focused on thematic areas, setting them to music in different ways: the peaceful, chorale-like gesture associated with Friar Lawrence in the introduction, the bitter struggle between the Capulet and Montague families, and the intoxicated love of Romeo and Juliet. The work ends with the return of a chorale of reconciliation and the transfiguration of the lovers.

kr. 149,95
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"Temperamentet hos den unge mesterpianist er indlysende indadvendt. Kontemplativt." Thomas Michelsen, Politiken

In 2019, when Alexandre Kantorow, at the age of 22, became the first French pianist to win the Gold Medal at the Tchaikovsky competition, his program included no less than three works by Johannes Brahms. Two of these, Piano Sonata No. 2 and the Rhapsody in B minor, he went on to record for release on his previous, highly praised recital disc, which was awarded distinctions such as Gramophone’s Editor’s Choice, Diapason d’Or, and Choc de Classica. The Brahms interpretations won Kantorow particular praise – the Guardian (UK) described them as ‘magisterial’ while the website ResMusica placed his sonata ‘among the great reference recordings of the piece – if not the modern one.’ There is much to look forward to, then, when Kantorow releases an all-Brahms album with a playing time of no less than 85 minutes. He opens with music by a composer of a similar age as himself: Brahms wrote the Four Ballades in 1854 while only 21 years old, taking up a fashionable genre introduced by Chopin as late as 1840. The set is followed by the even earlier Sonata No. 3 in E minor which forms the center of the program. The sonata is of almost symphonic dimensions and it was indeed, along with its predecessors, famously described as a disguised symphony by no one less than Robert Schumann. To bring this stormy, impassioned album to a close, Kantorow has chosen a later, and contrasting work: With a lifelong admiration for Bach, Brahms in 1879 made a piano arrangement, for the left hand alone, of the iconic Chaconne from Partita No. 2 for solo violin – a composition that Brahms himself described as ‘a whole world of the deepest thoughts and most powerful impressions’.

kr. 104,97 (kr. 149,95)
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dén er altså god. Ivan Rod

Niklas Sivelöv belongs to a rare breed of classical pianist-composers who also truly master the art of improvisation. Pianostreet.com


The pause is important in music. It comes first and thus is the premise in itself. Sound is born out of silence. And the musician’s pause at his instrument, that sacred moment before, has an infinite meaning.
This decisive moment is in itself extremely dramatic - just before the fingers touch the keyboard, before soft fingertips meet the white or black surface of the keys, rip up the silence, either gently, violently or carefully, hesitatingly like a chaste spider in a web. Or like a butterfly, flapping its wings at the mercy of external circum-stances, but nevertheless sure of achieving something, anything. A result.

So when two piano professors, Carsten Dahl and Niklas Sivelöv, sit down in front of two pianos in the Danish Radio´s Concert Hall it’s not for fun, but a deliberate attempt to enter into a musical practice, which is just as rich in tradition as it’s intimidating and controversial.
Two men, two pianos. Two temperaments and two different persons must find each other in the music. Must create something. Not only must they be in step or rather in rhythm, they must get good vibes, be in the same mood. When one says ‘speed’, the other answers ‘slow’. If one wants ‘staccato’, the other perhaps ‘legato’. And if one reaches for Satie, the answer is a boogie-woogie.

It’s not a fight, neither for the individual pianist against his piano, nor between the two musicians. It’s rather a kind of tonal essay writing where piano forte is challenged, possibilities are searched for – and sweet music comes out of the loudspeakers.


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