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Hvoslef: Chamber Works No. IV

Hvoslef: Chamber Works No. IV


Hvoslef:

Sekstett

Beethoventrio

Nordisk kontrapunkt for feler og flasker

Klaverkvintett


Hvoslef Chamber Music Project

The project «Ketil Hvoslef’s chamber music» was initiated in 2012 by violinist Ricardo Odriozola and pianist Einar Røttingen, both with backgrounds spanning many years of cooperation with the composer. The catalyst for the idea was the fact that most of Hvoslef’s chamber works had not been recorded and that, in view of their consistently high quality, deserved larger international attention and exposure. Thus, the idea to document 38 works on CD arose, and the record company LAWO Classics agreed to come onboard.

Collaboration with the performers is intrinsic to Hvoslef’s work as a composer. By trying out his ideas in dialogue with the players, a higher refinement of the details is achieved and the score is altered accordingly. This is an important part of the recording process.

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Kruse: Chronotape - Concerto for Clarinet & Orchestra

Kruse: Chronotape - Concerto for Clarinet & Orchestra


The title Chronotope is a term used by the Russian literary philosopher Mikhail Bakhtin (1895-1975) to describe how an awareness of time and space (chronos and topos) is represented in language and discourse. I find that the term also naturally applies as a model to the experience of temporal and spatial dimensions in musical "discourse", where the immediate memory of events in the past, and the expectations of events in the future, fills and enriches the moment of listening. Music creates its own chronotope, a spacious ‘now’, colored by the sensory perception of a past, present, and future.

The collaborative efforts of soloist Fredrik Fors, conductor Christian Eggen and the Oslo Philharmonic Orchestra excellently work in bringing out the work’s conceptual intention and musical character. Fredrik embodies all that I could ever wish for in a soloist. He possesses a perfect virtuoso technique along with a beautiful, lyrical clarinet sound; he fuses these qualities into a powerful and intense expression that elevates the work beyond my dreams and creates a convincing ownership to the performance. Truly a co-creative music artist!

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Battleground

Battleground


Eben:

Invocation I & II

Holm, L:

Fanfares Over Battled Ground

Laukvik:

Arabeske

Nordhagen:

Macchia Nera Di Polvere

Olsen, A R:

Fantasia

Intrada

Missa


Omstridt Duo

The Omstridt Duo (which translates as 'Disputed Duo'), say of this recording:

"We have been exploring and performing the repertoire for trombone and organ for the best part of twenty years. In this seemingly narrow field of interest, we have encountered inspired, idiosyncratic and beautiful music. Composers who set out to write for this combination maximise the possibilities of the two instruments to the fullest. Consequently the music consists of significant contrasts in dynamics, register, expression and timbres.

On this album, we present works composed exclusively for us, in addition to one core work for trombone and organ, Petr Eben?s Two Invocations. Stig Nordhagen has written an opening piece which will knock the socks off the listener, Lars-Thomas Holm has composed a towering epic, and Jon Laukvik has provided us with an opulent harmonised capriccio. Arne Rodvelt Olsen?s three contributions vary in dimension from the cheerful Intrada, via the stately and varied Fantasia, to Missa?s extensive musical universe. We are proud to present this music and are delighted that these composers have poured their inspiration into our requests."

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Aksiom

Aksiom


Bauck:

Misantropi IIIb

Mæland:

Étude ralentissante

Streich:

Papirosn

Svensson:

Shiver


Samtidsmusikk, Kai Grinde Myrann

Aksiom is one of Norway’s leading young ensembles for contemporary music and works mainly with new Nordic music and improvisation. The ensemble’s debut album features works of the young Swedish and Norwegian composers Johan Svensson, Lisa Streich, Øyvind Mæland and Martin Rane Bauck. They are performed by the nine musicians of the ensemble together with experimental vocalist Stine Janvin Motland (Mæland) and conductor Kai Grinde Myrann. The music is quiet and delicate, but offers a rich experience of sound with a strong focus on nuance and detail. The liner notes were written by Ole Robert Sunde.

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Ketil Hvoslef: Chamber Works No. III

Ketil Hvoslef: Chamber Works No. III


Hvoslef:

Inventiones I

Inventiones II

Inventiones III

Kvartoni

Bel Canto

Kirkeduo

Sextet for Flute and Percussion


Musicians from Bergen Philharmonic & Grieg Academy

“Hvoslef Chamber Works No. III” is the third in a series of nine CDs with Ketil Hvoslef’s collected chamber music. The idea of collecting all of Hvoslef’s 38 chamber music works on CD was conceived by violinist Ricardo Odriozola and pianist Einar Røttingen, who share many years of collaboration with the composer. Ketil Hvoslef (b. 1939) is a productive, versatile and undogmatic composer, who — now well into his seventies — continues to write music at a furious pace. Hvoslef’s style is characterized by an economy of means, the accumulation of latent energy, rhythmical ingenuity and, often, an element of humour. The album presents two works for the classical duo of violin and piano, and three works featuring unusual combinations of instruments. “Kvartoni” was written for soprano, recorder, guitar and piano. In the words of the composer: “I use playing techniques on the piano that bring it close to the guitar both technically and in sound.” About his “Kirkeduo” for guitar and organ, the composer says: “The combination of acoustic guitar and church organ evokes immediate associations with David and Goliath. The solution lies in the fact that the church organ has, in most cases, also fine transparent voices. […] The guitar is used as much as possible in accordance with the instrument’s character (after all, it sounds best that way).” “Sextet (Post)”, for flute, clarinet, horn, violin, guitar and piano, was commissioned by an organisation that was closed down before the work was completed, hence the subtitle “Post”. In “Bel Canto”, for violin and piano, a beautiful song is presented in a partially threatening environment, while in the three-part “Inventiones” we meet the ghost of Mozart and a bottle that rolls along the floor and down the steps of a bus. The recordings draw from the vast pool of performers in Bergen, where the composer lives and works. The performers are primarily from the Grieg Academy (University of Bergen/Bergen University College) and the Bergen Philharmonic Orchestra. The project was made possible with support from Arts Council Norway and the University of Bergen.

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Première

Première


Crusell:

Clarinet Concerto No. 2 in F Minor, Op. 5

Debussy:

Rhapsody for clarinet & piano (or orchestra), L. 116 'Première rapsodie'

Mikalsen:

Clarinet Concerto


Bjorn Nyman (clarinet)

Norwegian Radio Orchestra, Olari Elsts, Thomas Søndergård

It is a rare occasion indeed when an album of clarinet concertos is released in Norway, but Finnish clarinettist Björn Nyman’s debut CD as soloist — “Première” — features three of them. Nyman, one of the world’s leading performers on his instrument and long-time solo clarinettist of the Norwegian Radio Orchestra (KORK), presents together with the orchestra three works stylistically very broad in scope — music reflecting the extremely versatile musician that he is.

The earliest work is by a countryman of Nyman, Bernhard Crusell, one of the first important Nordic composers. The Clarinet Concerto in F Minor was the work Crusell held in the highest regard.

“Première Rhapsodie” by Claude Debussy presents other challenges. It is a virtuosic standard work for all clarinettists for whom the sound is the alpha and omega.

The real test, and an event in itself, is the first-ever recording of Jan Erik Mikalsen’s clarinet concerto. He is regarded as one of our leading composers, and in 2015 his work “Songr” won the prestigious contemporary music prize awarded by the International Rostrum of Composers. The clarinet concerto is sumptuous music that allows both orchestra and soloist to unfold their full opulence of sound.

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Hellstenius: Ophelias: Death by Water Singing

Hellstenius: Ophelias: Death by Water Singing


Elisabeth Holmertz , Tora Augestad, Ivan Ludlow, Silje Aker Johnsen

Cikada Ensemble, Christian Eggen

With this work, librettist Cecilie Løveid has taken the Danish myth of Hamlet and the Shakespeare play of the same name and virtually removed most of the men. She has also done away with many of the words. Shakespeare's deep and strongly expressive brooder has become a rather stuttering figure, with a fragility that is underscored in the music. Hamlet is in a borderline state, perhaps between adolescence and adulthood, perhaps between the parts of his consciousness.

Composer Henrik Hellstenius provides Hamlet with a wide scope of vocal articulation. The Prince’s voice traverses the full range, with rapid shifts from child-like melodies through to recitatives and booming, resonant timbres. This also renders him unstable. With Hamlet’s words fewer and his vocal register broader, it reduces and it complicates the character even further. Such a connection between words and sounds can be seen as an extension of both forms of expression, neither emphasising nor confirming each other.

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The New Song

The New Song


Bull, E H:

Gruk pour Soprane et Piano, Op. 53b

Hellstenius:

...as the last blow falls…

Iberg:

Liebeskleinelieder

Lund, H:

Brahmanische Erzählungen


Marianne Beate Kielland (mezzo), Nils Anders Mortensen (piano)

We know many of them — the German Lied, the French chanson, the Scandinavian song — works for voice and piano. Countless such musical pieces have been written throughout history, mainly from Mozart’s time on. But after a couple of hundred years, this form of composition fell “out of fashion”, and composers often used other ways to accompany singers.

How do we think of classical song today? I challenged three composers to each write his “Lied”, a piece of music for voice and piano, and received three remarkably different results. Two hundred years ago, the format was predictable; today, boundaries have dissolved, and the composer turns out whatever the heart desires. What these composers write about their own works appears later on.

In addition, we wished to include five wonderfully distinctive songs of Edvard Hagerup Bull — a composer of our own time, but one who was and remained controversial, and, as such, was essentially deprived of recognition and fame in Norway. Edvard Hagerup Bull was a grandnephew of Edvard Grieg, he studied with Messiaen and Milhaud, among others, and he lived a large part of his life in Paris.

Many are familiar with the short aphoristic poems of Piet Hein known as “grooks” — artful, thought-provoking texts with their unconventional way of looking at life. Coupled with Hagerup Bull’s playful, humoristic music, they become musical gems deserving of attention and performance. We are pleased to have these songs on the recording! To be on the safe side, I wish to point out that the “grooks” are written in Danish, but I have chosen to sing the texts with Norwegian pronunciation.

- Marianne Beate Kielland

Super Audio CD

Format:

Hybrid Multi-channel

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Mozart, Hvoslef, Sæverud: Works for Oboe

Mozart, Hvoslef, Sæverud: Works for Oboe


Hvoslef:

Concerto for Oboe and Orchestra

Mozart:

Oboe Quartet in F major, K370

Saeverud:

Concerto for oboe and orchestra, Op. 12

Easy Pieces for Piano, Op. 14: Rondo amoroso (7)


David Strunck (oboe)

Oslo Philharmonic Orchestra, Arvid Engegård

The oboe is the quintessential pastoral instrument. Capable of both incisive bite and mellifluous sweetness, it has inspired many composers to write some of their most memorable melodies.

The present recording sets Mozart’s perennial Oboe Quartet alongside two important concertos written in Norway 74 four years apart: the unjustly neglected concerto Op. 12 by Harald Sæverud (1938) and Oboe Concerto of 2012 by Ketil Hvoslef, a very recent and important addition to the repertoire. Sæverud’s evergreen Rondo amoroso, Op. 14, No. 7 (in the composer’s own arrangement for chamber orchestra, with the oboe as main instrument) completes the programme.

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Ketil Hvoslef: Chamber Works No. II

Ketil Hvoslef: Chamber Works No. II


Hvoslef:

Duodu

Ludium for 7 flutes

Octet for Flutes

Dano Tiore

Duo for accordions

Quartetto Percussivo


Hvoslef Chamber Music Project

The project «Ketil Hvoslef’s chamber music» was initiated in 2012 by violinist Ricardo Odriozola and pianist Einar Røttingen, both with backgrounds spanning many years of cooperation with the composer. The catalyst for the idea was the fact that most of Hvoslef’s chamber works had not been recorded, and, in view of their consistently high quality, deserved larger international attention and exposure. Thus, the idea to document all 38 works on CD arose, and the record company LAWO Classics agreed to come onboard.

Collaboration with the performers is intrinsic to Hvoslef’s work as a composer. By trying out his ideas in dialogue with the players, a higher refinement of the details is achieved and the score is altered accordingly. This is an important part of the compositional process.

The recordings draw from the vast pool of performers in Bergen, where the composer lives and works, in order to facilitate a closer collaboration between composer and players on every single work up to the time of the actual recording. The performers are primarily from the Grieg Academy (University of Bergen/Bergen University College) and the Bergen Philharmonic Orchestra, with the addition of some musicians from other Scandinavian countries. The aim of the recordings is to help promote the establishment of a performance practice for Hvoslef’s music.

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