New Releases

[Daverz]

Thread duty: [asin]B00H5DNBBU[/asin]
Carl Philipp Emanuel Bach : symphonies and concertos:  6 CDs on Archiv

I think the ASIN must be wrong.

[Octave]

I think the ASIN must be wrong.

It's listed at Amazon DE (still not even a cover image though), but not yet at USA/UK:
http://www.amazon.de/Sinfonien-Konzerte-Goebel/dp/B00H5DNBBU/ref=sr_1_1?ie=UTF8&qid=1387175417&sr=8-1&keywords=B00H5DNBBU

[The new erato]

Pettersson: Symphony No. 9

Norrköping Symphony Orchestra, Christian Lindberg

Allan Pettersson composed his Ninth Symphony in 1970, two years after the Seventh had been given a triumphant première conducted by Antal Dorati. This had brought him greater recognition than ever before, but at the same time his health was deteriorating even further, and shortly after completing the Ninth Pettersson was hospitalized for a period of nine months. It is striking that he at such a time should have chosen to compose what is the longest of all his works – in the score Pettersson himself estimated the duration to '65–70 minutes', and the first recording of the work actually lasted for more than 80 minutes. As so many of the symphonies, the work is in one single movement which may be described as an extended struggle in which harmony is the ultimate winner. As Pettersson himself had said about an earlier work: 'If one fights one's way through a symphony one needs to achieve consonance and harmony even if it takes twenty hours to do so.' In the case of the Ninth, this harmony is summed up more concisely than ever before or after, in the final two chords which form a plagal or 'Amen' cadence in F major. Completing a cycle for BIS of Pettersson's symphonies, Christian Lindberg and the Norrköping Symphony Orchestra have been receiving great critical acclaim for previous instalments – most recently a Sixth described in International Record Review as 'a release that could well be the ideal introduction to Pettersson's singular musical vision'. About the same disc, the reviewer in Gramophone wrote: 'Lindberg's empathy for Pettersson's music is once again shown in the Sixth, where he catches its dark atmosphere to perfection, pacing its progress through the succession of climaxes superbly well.' The present recording is accompanied by a bonus DVD – an 80-minute documentary made during Allan Pettersson's final years which for the first time is being made available to a wider international audience.

http://www.prestoclassical.co.uk/r/BIS/BIS2038

[Mirror Image]

Pettersson: Symphony No. 9

Norrköping Symphony Orchestra, Christian Lindberg

Allan Pettersson composed his Ninth Symphony in 1970, two years after the Seventh had been given a triumphant première conducted by Antal Dorati. This had brought him greater recognition than ever before, but at the same time his health was deteriorating even further, and shortly after completing the Ninth Pettersson was hospitalized for a period of nine months. It is striking that he at such a time should have chosen to compose what is the longest of all his works – in the score Pettersson himself estimated the duration to '65–70 minutes', and the first recording of the work actually lasted for more than 80 minutes. As so many of the symphonies, the work is in one single movement which may be described as an extended struggle in which harmony is the ultimate winner. As Pettersson himself had said about an earlier work: 'If one fights one's way through a symphony one needs to achieve consonance and harmony even if it takes twenty hours to do so.' In the case of the Ninth, this harmony is summed up more concisely than ever before or after, in the final two chords which form a plagal or 'Amen' cadence in F major. Completing a cycle for BIS of Pettersson's symphonies, Christian Lindberg and the Norrköping Symphony Orchestra have been receiving great critical acclaim for previous instalments – most recently a Sixth described in International Record Review as 'a release that could well be the ideal introduction to Pettersson's singular musical vision'. About the same disc, the reviewer in Gramophone wrote: 'Lindberg's empathy for Pettersson's music is once again shown in the Sixth, where he catches its dark atmosphere to perfection, pacing its progress through the succession of climaxes superbly well.' The present recording is accompanied by a bonus DVD – an 80-minute documentary made during Allan Pettersson's final years which for the first time is being made available to a wider international audience.

http://www.prestoclassical.co.uk/r/BIS/BIS2038

Excellent! That documentary should be very interesting as well.

[kishnevi]

At the back of their first release on their own label,  the Academy of Ancient Music lists three recordings to be issued over the next 14 months

All Bach, all conducted by Richard Egarr

St.  John Passion   February 2014
Orchestral Suites   October 2014
St. Matthew Passion February 2015

both Passions will feature the same group of soloists, with one exception


James Gilchrist
Matthew Rose
Ashley Riches
Elizabeth Watts
Sarah Connolly
Andrew Kennedy
Christopher Purves (SJP)
Christopher Maltman (SMP)

[Brian]

The very first AAM release was such an interesting and varied program that it's rather a bummer they're doing such standard favorites for the next three, even if the vocal talent (Gilchrist, Maltman, Connolly, etc.) is superb.

[kishnevi]

The very first AAM release was such an interesting and varied program that it's rather a bummer they're doing such standard favorites for the next three, even if the vocal talent (Gilchrist, Maltman, Connolly, etc.) is superb.

I'm listening to it now.  It's a nice change of pace, and a good intro to 18th century symphonies,  topped off by a Haydn 49 that's good, but not necessarily great.

But perhaps the choice of works to be recorded was influenced by financial considerations.

In the past, the orchestra's recording work was funded by commercial record labels--but today every new recording requires financial support

Visit www.aam.co.uk/support to find out how you can help AAM Record carry forward the orchestra's distinguished recording tradition for the benefit of music-lovers everywhere.

I do wonder why they left Harmonia Mundi....

[jlaurson]

I'm listening to it now.  It's a nice change of pace, and a good intro to 18th century symphonies,  topped off by a Haydn 49 that's good, but not necessarily great.

But perhaps the choice of works to be recorded was influenced by financial considerations.

I do wonder why they left Harmonia Mundi....

If you have to get financing for the recording anyway, even with Harmonia Mundi, then a lot of groups and artists like to have the artistic freedom to do what THEY want to do... not what the label will let them. HM will not release too much overlapping material on their label... and certainly can't finance every artist's wish. They are, after all, a label with a strategy and not a buy-in--bring-the-money-and-do-what-you-want label like Avie. It's unfortunate, in a way, because HM is such a great label and it's nice to see them work with artists we love... but if these artists go on do their own thing to a very high qualitative standard (phi, herreweghe et al.), all the more choice for us insatiable consumers.

[Sammy]

The very first AAM release was such an interesting and varied program that it's rather a bummer they're doing such standard favorites for the next three, even if the vocal talent (Gilchrist, Maltman, Connolly, etc.) is superb.

Although that first release does have a varied program, it doesn't interest me; symphonies by Richter, Stamitz and Mozart (his 1st) aren't going to get my dollars.

[jlaurson]

Although that first release does have a varied program, it doesn't interest me; symphonies by Richter, Stamitz and Mozart (his 1st) aren't going to get my dollars.

Mozart's first, in a performance such as the AAM's, is a marvelous thing. He wrote much more tedious stuff at much later points, for all that's worth.

[Wakefield]

Mozart's first, in a performance such as the AAM's, is a marvelous thing. He wrote much more tedious stuff at much later points, for all that's worth.

Is it a new performance? I mean not a reissue from their 1978-1985 cycle.

[jlaurson]

Is it a new performance? I mean not a reissue from their 1978-1985 cycle.

Yep. About 3 minutes shorter than their earlier recording, too.

[Wakefield]

Yep. About 3 minutes shorter than their earlier recording, too.

Thanks! 

[Que]

http://www.jpc.de/jpcng/classic/detail/-/art/Sergej-Rachmaninoff-S%E4mtliche-Werke-f%FCr-Klavier/hnum/3835589

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[Que]

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[Que]

   

   

pictures are linked

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[kishnevi]

Q

Simone has yet to do me wrong.....

[Todd]

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[asin]B00GK8OZZC[/asin]


Amazon UK shows this with a January 6th release date, though Chandos apparently started selling it on December 16th, of all days.  Looks like one of my first purchases of 2014 is now known.

[Sammy]

Mozart's first, in a performance such as the AAM's, is a marvelous thing.

Worth a chuckle, because it reminded me of Billy Crystal on Saturday Night Live.

[Todd]

Warner has already reissued all of the non-opera EMI recordings by Giulini, and it looks like a DG/Sony combo box is coming out of Korea next year.  64 non-opera discs all at once.  Gotta see if the price will drop on this one.  (And maybe Kubelik can get the same treatment?!)