CD-nyhet / CD news

Visar alla 9 resultat


    Välrenommerade Svanholm Singers sjunger under ledning av Sofia Söderberg.

    In the mid- to late 1800s, there was a golden age for men’s choirs in Sweden by way of our universities, which means that most of our country’s repertoire originated during that period. It is certainly an interesting challenge for artistic directors to establish a repertoire that is timely, moving, and that deals with issues that are important to us today. 
    Over the years, I’ve composed a great deal of our material, but we’ve also had commissioned pieces. This disc includes a selection of these works created with our choir in mind, the Svanholm Singers Exclusive.” – Sofia Söderberg

    Innehåll / Contents:

    Badhusintro – Sofia Söderberg
    Limu limu lima – Sofia Söderberg
    Hårgalåten – Sofia Söderberg
    Amazing grace / Akatonbo – Kosaku Yamada, Rofú Miki, John Newton, Sofia Söderberg
    Serenad – Jacob Axel Josephsson, Sofia Söderberg
    Peace – Gerard Manley Hopkins, Wilfred Owen, Peter Bruun
    It is so peaceful here – Christian Engquist
    Son to mother – Maya Angelou, Henrik Dahlgren
    Close to home – Eleanor Roosevelt, Emil Fredberg
    Kyrie – Sofia Söderberg
    Ave Maria – Sofia Söderberg
    Salve Regina – Hermanus Contractus, Knut Nystedt
    Härlig är jorden – Bernhard Serverin Ingemann, Cecilia Bååth-Holmberg, Sofia Söderberg, Chief Noah Seattle

    Limu limu lima

    Son to mother

    Lullabies from around the world

    Tetra is an ensemble of four singers: Ingrid Brännström, Sanna Källman, Anna Ottertun, Maria Stellas.

    Most of the songs on this CD are also available in the book Tussa lulla.

    Goldberg 1.5

    ”The Goldberg Variations is a Baroque piece still played, acclaimed and discussed today, with regard to interpretational issues as well as its origin and structure: Is Glenn Gould’s interpretation “correct” even though it is not traditional in its execution? What tempo should the aria have? Did Count Kaiserling suffer from what we today would call insomnia? Why did Johann Sebastian Bach create so few pieces with variations, and is it justifiable right to rearrange such a conscientiously composed piece at all?
    In 2015, Kondens received a substantial endowment from The Swedish Arts Council: A commission of five new pieces by five different composers, and the project was called Goldberg 1.5. The concept was to let the composers be inspired by the originals and then go on to create their own interpretations. The new variations are presented side-by-side with the originals, integrating with them and creating a new composition together. The driving force behind this project is curiosity, how these variations, created by female and male composers with various musical backgrounds, whose lifetimes may be separated by centuries, would be perceived by audiences, composers, and by us.
    Knowing that this music from a distant era is, due to its beauty, still sought-out today is impressive. The fact that these new pieces bear the imprint of history increases their presence and relevance. This was our mission, to celebrate music and its profound impact across time, age and style.
    Our versions are not a remix, where old and new material are fused together, creating a hybrid. A more apt description is to call them a time-specific collage where the separate parts are gathered together and displayed in the same frame. We hope that the interplay between the versions, the impact of history and the present moment, along with placing the original versions in a new context, will provide listeners with a sense of timelessness.
    The five Swedish composers who honored us with their compositions are Daniel Hjorth, Ida Lundén, Mattias Petersson, Jan Sandström and Lisa Ullén.”
    My Eklund and Lisa Oscarsson

    Kondens consists of My Eklund (recorder) and Lisa Oscarsson (organ). Several works have been dedicated to this ensemble, such as Geist and Ghost, by the Malmö-based composer Daniel Hjorth. Their latest commission Goldberg 1.5 premiered at the 2016 New Directions festival, where it was also recorded by Swedish Radio P2 Live. Since 2014, this duo has regularly held concerts in Sweden, primarily, but also in Norway. Kondens has been acclaimed by the media for their innovative approach and musicality. The Swedish Culture Council is behind most of their commissions and the Swedish Arts Grants Committee has arranged grants and funding.

    J.S. Bach: Aria, Variations nos. 7, 15, 16, 21, 29
    Variations on variations by Lisa Ullén, Mattias Petersson, Ida Lundén, Jan Sandström and Daniel Hjorth


    Tantum showcases the exceptional talents of Karin NelsonAnders Jormin and Jonas Simonson who once again treat us to a genre-bending musical experience. It’s playful, a generous give-and-take, where their combined backgrounds in classical music, improv and world music fuse into a sum surpassing the parts, an artistic smörgåsbord feast of genres spiced with tradition and history. Tantum is the second album featuring this project; a follow-up to the critically acclaimed Songs in Meantone released by Footprint Records.

    KARIN NELSON, an organist much in demand as a soloist, is an authority in the fields of free improvisation and in Early music. She regularly gives master classes and serves as a jury member in international organ competitions. Currently, she is Head of organ and church music both at the Norwegian Academy of Music and at the Academy of Music and Drama, University of Gothenburg.

    ANDERS JORMIN is a renowned jazz bassist with the world as his workplace, touring with various constellations of internationally acclaimed names within jazz/ improv. A recipient of numerous awards and prizes for his unique artistry, he also holds an honorary doctorate at the Sibelius Academy of the University of the Arts, Helsinki. In addition to this, he is Head of Improvisation at the Academy of Music and Drama, Gothenburg University.

    JONAS SIMONSON has carved out a solid reputation as a flutist in the folk and world music genres. He’s also contributed significantly to the evolution of modern Nordic folk music. For the past 30 years, he has traveled the globe with his rhythmic and personal style of musicianship. His work is featured on numerous recordings and he is a highly experienced and respected educator at the World Music department of the Academy of Music and Drama, University of Gothenburg.

    Tantum ergo sacramentum
    To Garmo
    Doubt Thou the Stars
    Murmurations of Starlings
    Sápmi Intonations
    Liebster Jesu
    Traces of Bingsjö / Liebster Jesu
    Hymn from Sápmi / Passamezzo

    Markatta Sånger

    Markatta gör musikföreställningar för barn, fyllda med dans, rörelse och teater. De har under många år turnerat till snart sagt varenda vrå av Sveriges avlånga land.

    Markatta är Ingrid Brännström, Lotta Sjölin Cederblom och Sanna Källman.

    När vindarna vänder
    Om & om igen
    Galna galaxen
    Märtas & Bärtas skräcklåt
    När månen går med långa ben 
    Sju resor värre
    Dansa & gå
    Det smakar gott
    Doftande vals

    Ama. CD

    Den polska kammarkören Camerata Silesia under ledning av Anna Szostak har tagit sig an kompositören Anders Jormins körmusik. Jormin medverkar själv som solist på kontrabas.

    When Anders Jormin first worked with the Polish choir Camerata Silesia and its conductor Anna Szostak, he started to dream of making a recording with them. That dream comes to fruition in this release from Footprint: an album of Jormin’s choral music born of his unique combination of free improvisation with rigorous technique.

    The impulses behind Jormin’s music include medieval chant, folk music, the music of the European baroque and of course the jazz which made him famous. His choral music comes into being courtesy of texts by Shakespeare, Hemingway, Virgil, Seneca and by himself, as well as from ancient hymnody from protestant and Catholic traditions and voices from as far apart as Norway and Japan.

    Across the 13 individual a cappella works recorded at the stunning Polish Radio concert hall in Katowice are existing works, pieces newly written for the choir and others re-imagined for the occasion – among them a re-casting of the final movement to Jormin’s Symphony of the Birds, with which the singers and composer first met, and the title track Ama, adapted from a work of the same name originally created for Trio Medieval. Jormin’s music is direct yet reflective, disciplined yet emotional. He brings his rich, deeply involving voice to full vocal fruition on this new album, and one of Europe’s finest choirs sing it with the passion and excellence it deserves and commands.

    Some of the scores are available: Ama, Ave Maria, Doubt Thou the Stars, M, Radius solaris, Veri floris

    Radius solaris
    Doubt Thou the Stars
    Three Shades
    Hemingway Intonations
    Shakespearian Sketches
    Veri floris
    Congregation of Plovers
    Komorebi Requiem
    Ascension of Larks
    Ave Maria

    Nocturnal Singing

    Composer portrait of Thomas Jennefelt.

    Nocturnal Singing (Jessica Bäcklund, Swedish Radio Choir, Swedish Radio Symphony Orchestra, Andrew Manze)

    Fyra operakörer / Four opera choruses (Eric Ericson Chamber Choir, Royal Swedish Navy Band, Fredrik Malmberg):
    De bortkördas kör / Chorus of the Deported
    Midsommarnatten / Midsummer Night
    På festen / Am Party
    Slutkör / Final Chorus

    ”När jag hörde uruppförandet av Thomas Jennefelts ‘Nocturnal singing’ på radion sent i november 2010 blev jag så suggererad att jag för en sekund såg ut genom fönstret för att försäkra mig om att inte också hela staden låg i mörker. Nu finns detta körmästerverk på ett album som också bjuder på hisnande vokala fantasier till fyra tänkta operor: ‘De bortkördas kör’, ‘Midsommarnatten’, ‘På festen’ och ‘Slutkör’.
    Här ställer Jennefelt ordens semantiska hårdhet mot en mjukhet i det meningsbefriade språk som bara musiken själv kan alstra. Som i den underskönt magiska ‘Midsommarnatten’ där en ursvensk ritual rekonstrueras utifrån en avlägsen framtid med hjälp av ihopklippta folkvisetexter som ingen längre vet vad de betyder.”
    Martin Nyström, Dagens Nyheter

    Down through the years, THOMAS JENNEFELT has composed music for a wide variety of settings, but attention to vocal music is salient in his works, which extend from choral music to opera. Warning to the rich is an early and successful example of the former, and has been performed the world over since its inception in 1977. Other acclaimed choral pieces include O Domine and Dichterliebe (I–X), composed to the same poems by Heinrich Heine that Robert Schumann once used, and the original a cappella suite Villarosa Sequences sung to a self-created, Latinesque language.
    A piece such as Villarosa Sequences certainly adds dimensions to Jennefelt’s creative repertoire. Besides being a singer himself, a former member of the prestigious Eric Ericson Chamber Choir, his vocal music demonstrate a deep interest in language. He often writes his own librettos and shows great sensitivity for the value of words.
    His musical narratives are often populated by clear-cut characters and strong contrasts – displaying a rare talent for simple details that yield a great impact. Melodic lines and organic rhythms provide what is almost a visceral experience. The sweeping brush strokes of drama are parsed by detailed and intimate passages, such as in the melancholy NocturnalSinging (2010) and the demanding, yet dreamy and sensuous Fyra operakörer/Four Opera Choruses (2016), taken from as-yet unwritten operas.
    Many of his delicate works for choir have earned international popularity, with their abundant use of a full potential profusion of choral sonority, often underpinned by a distinct rhythm. These features, along with a decidedly free-tonal character imbued with a melodic lyricism, are also detectable in his instrumental works. Worthy of mention are the exquisite trumpet concerto Stockholm i maj /Stockholm in May (2000) and the elements of light in the orchestral piece In rilievo (2005).
    Jennefelt’s multifaceted and vocally sensitive composition is particularly suited to musical drama. Notable amongst his operas are the full-length Gycklarnas Hamlet /The Jesters’ Hamlet (1989), the chamber opera Farkosten/ The Vessel (1994), to which he set his own libretto, and several other musical drama scenes for different sizes of orchestra. He also wrote Sport och fritid/Sports & Leisure for the Stockholm Royal Opera to a libretto by Niklas Rådström. The chamber opera Hos oss/At Our Place (2012), with a libretto by Magnus Florin, is very cutting-edge with its focus on authenticity, being performed in private apartments in Stockholm, and later, Berlin. – Tony Lundman


    Musik av Olivier Messiaen, Carl Nielsen och Georges Enescu presenteras här av vännerna Vlad Stanculeasa och James Maddox. Stanculeasa är violinist från Rumänien, som utöver sin solokarriär vilken han bedriver över Europa, Asien och Sydamerika även är alternerande förste konsertmästare för Göteborgs Symfoniker sedan 2010. Maddox är pianist, ackompanjatör men även solist. Liksom Stanculeasa har han turnerat över både Europa och Asien men också Australien som han kommer från.

    Innehåll / Contents:

    O. Messiaen: Fantasie
    C. Nielsen: Sonata No. 2, opus 35:
    – Allegro con tiepidézza
    – Molto adagio
    – Allegro piacevole
    O. Messiaen: Théme et Variations
    G. Enescu: Sonata No. 3, opus 25:
    – Moderato malinconico
    – Andante sostenuto e misterioso
    – Allegro con brio, ma non troppo mosso

    UrVerk – Swedish Contemporary

    Uppsala Vokalensemble, under ledning av Sofia Ågren, har här spelat in tre verk som uruppförts av kören. På albumet medverkar även saxofonisten Jesper Eriksson.

    Innehåll / Contents:

    Emil Råberg: Approximately Four Improvisations*:
    – Summer Melody
    – Winter Sounds
    – Spring Tune
    Maria Lithell Flyg: Andas den ut ur mitt bröst

    Martin Q. Larsson: Hundra tusen miljarder

    UrVerk får högsta betyg av tidningen Hifi & Musik – fem stjärnor för musiken och plus för ljudet!


    *Utgiven på Bo Ejeby Förlag. Du hittar noten här.