Playing US Shows In May & Debut Album Heba Out Now On Bella Union
"Danish dream pop group take a quantum leap forward, with a richer and more eclectic sound" -Pitchfork
US TOUR DATES:
5/20/2018 - New York, NY - Berlin
5/22/2018 - Los Angeles, CA - Hotel Cafe
5/24/2018 - Seattle, WA - Nordic Heritage Museum
“Textured, imaginative soundscapes” - Interview
“an overwhelming onslaught of beauty” – Stereogum
“jazzy, soaring widescreen pop” – Brooklyn Vegan
Following the release of their stunning, critically-acclaimed debut LP Heba last year on Bella Union, hotly tipped Danish quintet Lowly are pleased to share lush new track “Wood". Listen to it HERE. Additionally, Lowly carry their outstanding live performance to the US for the first time with shows in New York, Los Angeles and Seattle.
Lowly only came together as a band in 2014, having met at the musical academy in Aarhus, Denmark. Despite all five members being involved in different studies, and having their own pre-existing endeavors, Nanna Schannong (lead vocals, guitar), Soffie Viemose (lead vocals, laptop), Kasper Staub (synthesisers), Thomas Lund (bass, Moog) and Steffen Lundtoft (drums, percussion) soon found common musical ground; a restlessly inventive and exquisitely melodic sound that refutes easy categorization.
The band themselves call it “noise-pop, and everything in between”. In this case ‘noise’, explains Kasper Staub, refers to the textures and treatments via laptop and guitar. This gives Lowly songs unpredictable, shape-shifting qualities (brilliantly layered by the band and co-producer Anders Boll, Efterklang’s long-trusted engineer/soundman), though a core of wistful melancholy remains, further intensified by the enigmatic lyrics.
“We think of our music and lyrics more like a painting, we think it should all melt together,” says Staub. “We’re all interested in developing ourselves as songwriters, and working in new ways, with different ideas.”
Vacillating between vintage and modern, emotion and energy and heart and soul, Lowly are a fresh band breathing a timeless life into the modern realm of indie music. This early on, it suggests that the potential for this standout act is limitless.
April 12-14, Paul Lewis will perform Beethoven's 3rd Piano Concerto with the San Francisco Symphony led by Daniel Harding and then reunite with tenor Mark Padmore April 19 to present "The Art of Song" at New York's Lincoln Center.
Lewis returns to the U.S. in May for a series of recitals tracing the thread of musical heritage that runs between Haydn, Beethoven and Brahms. Recital dates include May 4 (Durham, NC), May 8 (Kalamazoo, MI), May 10 (Philadelphia, PA), May 13 (Vancouver, ON/Canada).
Lewis is known for immersing himself in epic multi-year musical projects, including his vast study of Beethoven's complete sonatas and piano concertos and Schubert's final piano works. With this first of two Haydn albums for harmonia mundi, the acclaimed British pianist adds fresh repertoire to an award-winning discography. Whimsical and dramatic by turns, Haydn’s sonatas can be mischevious, ingenuous, eloquent or lyrical.
In Paul Lewis' own words, "I've wanted to explore the piano sonatas of Haydn in detail for some time. It's unfortunate that his works don't get played as often as they deserve, as they contain some of the most startlingly original and irresistibly absurd piano writing in the entire repertoire. There aren't many composers whose music can raise a laugh from an audience, but Haydn certainly tops that short list. His outrageous ability to surprise, shock, and poke fun at the listener still feels remarkably fresh in an age when ever-increasing extremes have become the norm.”
“The more you become immersed in the works of one composer, the more variety you discover,” observes Paul Lewis. “Although these programs are about the parallels and connections between three different composers – Haydn, Beethoven and Brahms – they really feel like a single body of work. At the end of these concerts I expect to feel, as I did when exploring the piano sonatas of Beethoven and Schubert, as if I am just getting started. The remarkable thing about these great compositions is that we’re still discovering things in them more than two centuries after they were created, still relating to things that are so human about this music. They speak to us in so many ways and can articulate feelings and states of mind that are so difficult to express in words. In a very basic sense, their beauty never fades. And perhaps it is even enhanced in a world in which everything is so fast, so loud, so extreme. The chaos that so often surrounds us today makes the need for serenity and beauty more acute than ever.”
Lewis recalls how he was drawn to Haydn not least by the composer’s passion for the comedy of the absurd. “Haydn’s music, like no other, makes us laugh as well as smile,” he notes. "Haydn surprises you by being mischievous; he’s never brutal or gruff in the way that Beethoven can be. There’s the least amount of malice, the greatest amount of good humor and geniality in Haydn. It’s such incredible music with such incredible invention, which is why I’m so excited to be playing and recording it.”
April 12, 13 & 14 - San Francisco, CA - Davies Hall
Program: BEETHOVEN Piano Concerto No. 3 in C minor, Op.37
With Daniel Harding
April 19 - New York, NY - Alice Tully Hall, Starr Theater
Program: Art of the Song
With Mark Padmore
April 21 - Easton, PA - Lafayette College
Williams Center for the Arts
Program: Art of the Song
With Mark Padmore
Program MAY 4-13: Haydn, Beethoven, Brahms
May 4 - Durham, NC - Baldwin Auditorium
May 8 - Kalamazoo, MI - Dalton Center Recital Hall
May 10 - Philadelphia, PA - Perelman Theater
May 13 - Vancouver, ON CANADA - Vancouver Playhouse
In a company statement, Group Managing Director Edwin Schröter congratulated the Play It Again Sam team and gave special recognition to previous label leader Pete Thompson who was instrumental in building the label. "Huge congratulations to the label team who celebrated in style last night after first putting in a call to Pete Thompson who led the label to two nominations in the previous two years before retiring and leaving it to the new label team to now pick up the award after the third consecutive nomination this year."
To celebrate, Play It Again Sam created a special Music Week 'Independent Record Company' 2018 Playlist featuring many of the artists that helped make it all happen. Check it out!
For its 20th anniversary, the internationally-celebrated Cuarteto Casals launches a large-scale Beethoven cycle, both in the studio and the concert hall, including performances in London, Barcelona, Vienna, Paris, Amsterdam, Tokyo and Madrid, as well as the German cities of Hamburg, Bonn and Berlin.
The centerpiece of the concerts and recordings for harmonia mundi is the 16 Beethoven quartets. “Playing the complete Beethoven quartets is the greatest challenge for any string quartet. Essentially, we have prepared for this for 20 years and are very excited to finally be able to play the cycle in its entirety. It is a journey through all facets of human experience: from the most comical, absurd scenes to the most profound and intimate movements in Western music. It is a kind of miracle that Beethoven’s music is at once extraordinarily personal and universal at the same time ... always greater than any one individual.”
In its explicit bid to “newly illuminate” Beethoven's quartet works, the Cuarteto Casals has chosen a characteristically innovative structural arrangement for its studio recordings. The works will not be presented in the typical grouping of early, middle and late periods: rather they will be arranged according to each quartet’s place within Beethoven’s musical development. In each of these three periods, there are works of the “beginning”, i.e. of first inspiration and exploration (“Inventions”), followed by works of the “centre”, i.e. works with in which the full potential of Beethoven’s language is fully realised (“Revelations”), and finally works of “transfiguration”: a conclusion or closing, yet with an intimation of possibilities to come (“Apotheosis”). The first of the three box-sets, “Inventions” (with op. 18,1; op. 18,3; op. 18,4; op. 59,1; op. 127; op. 135), is scheduled to appear on harmonia mundi in June/July 2018, and the remaining two sets will be issued in 2019 and 2020 respectively.
The April edition of Opera News features honoree William Christie. Opera News' Digital Editor Adam Wasserman observes: "Conductor William Christie's leadership of his superlative ensemble, Les Arts Florissants, has done more than merely revivify music of the French Baroque. Christie’s interpretive efforts have had a transformative effect on the very idea of authenticity in opera. To hear Christie conduct the music of Rameau, Lully, Charpentier, Handel or Mozart, is to understand anew that, while opera may be indebted to the past, it is an art that can only exist in the present moment.”
Read about William Christie and all the award recipients in the April edition of OPERA NEWS
"This double debut – Julien Brocal's first CD and the launch of a new label devoted mainly to young artists – proves that even in a very crowded field there are new things to say," wrote BBC Music Magazine critic John Allison. "Even more to the point is the fact that this young French pianist says them with complete naturalness, for there is nothing contrived or attention-seeking about his approach to such well-known repertoire."
NEW RELEASE! Julien Brocal's new recording (out April 20) takes us to the border country between Spain and France - the Basque region and the two great pianist composers from that area, Spaniard Frederico Mompou and Frenchman Maurice Ravel. The two composers never met, but it is unlikely the shy, somewhat timid Mompou would have enjoyed the more flamboyant Ravel's company. In many respects the two composers were like the moon (Mompou) and the sun (Ravel), mirroring one another. The great Catalonian pianist Riccardo Viňes (1875-1943) is a direct link between the two men. He was the dedicatee of Ravel's Miroirs and of Mompou’s Charmes, both featured works on this recital. Julien Brocal achieves an astonishing tone performing on the piano once owned by Vladimir Horowitz, the Istomin – Horowitz Steinway CD18. The recording was made at the Tippet Rise Art Center, Montana with multi-Grammy Award-winning engineer Richard King.
During a recent hiatus from music, Eels founder Mark Oliver Everett got married, got divorced and, at the age of 54, had a son. His latest album, The Deconstruction, is a reflection of it all.
Check out: Mark Oliver Everett on Fresh Air
The ensemble makes a welcome return to Savannah Music Festival (April 3), Boston Early Music Festival (April 7) and New York's Music Before 1800 (April 8) before heading to South America for concerts in Florencia, San Andrés and Bogota, Columbia.
“An ensemble of breathtaking freshness, vitality and balance.”
-New York Times
Stile Antico's new recording features one of the greatest masterpieces of the Renaissance, Tomás Luis de Victoria’s Tenebrae Responsories.The office of Tenebrae, from the liturgy of Holy Week, has always fascinated the public and, above all, offered a fertile terrain for composers to exercise their gifts. Such was the case with Victoria, whose exclusively sacred output was nourished by multiple influences during his years in Rome. The group's twelfth project for harmonia mundi, it was released world-wide March 9 (digital) and will be out April 13 on CD. Stile Antico will perform Victoria’s Tenebrae Responsories in Savannah, Cambridge and New York.
In Concert | North & South America | APRIL 3-15, 2018
APR 3 - Savannah, GA
Trinity United Methodist Church
APR 6 - Richmond, VA
Cathedral of the Sacred Heart
APR 7 - Cambridge, MA
St. Paul Church
APR 8 - New York, NY
Corpus Christi Church
APR 11 - Florencia, Colombia
Cultural Center of FLorencia
APR 13 - San Andrés, Colombia
Centro Cultural de San Andrés
APR 15 - Bogota, Colombia
Sala de Concertos - Biblioteca Luis Ángel
Working without a conductor, the 12 members of Stile Antico have thrilled audiences throughout Europe and North America with their fresh, vibrant and moving performances of Renaissance polyphony. Stile Antico not only received a GRAMMY®-nomination for their album, "Divine Theatre – Sacred Motets by Giaches de Wert" but was also invited to perform at the 60th GRAMMY® Awards Premiere Ceremony on January 28, 2018. The group has previously been nominated for two other recordings: "Song of Songs" (2010) and "Music for Compline" (2008). The ensemble’s bestselling recordings have earned many accolades including the Gramophone Award for Early Music, Diapason d’or de l’année, Edison Klassiek Award and the Preis der deutschen Schallplattenkritik. Commenting on a live performance NPR Music noted: “Despite the rich details, this Stile Antico concert is one of those performances in which you can leave the scholarship aside and just float in an ocean of unearthly sound.”
The album features the world premiere recording of Glass’s Piano Concerto No. 3, a new concerto for piano and strings co-commissioned by A Far Cry and composed by Glass specifically for Simone Dinnerstein, whom the New York Times calls “an utterly distinctive voice in the forest of Bach interpretation.” It is paired with Bach’s Keyboard Concerto in G minor.
Dinnerstein and A Far Cry toured the new Glass concerto in the fall of 2017. Of their world premiere performance at the New England Conservatory’s Jordan Hall, the Boston Globe wrote, “[Dinnerstein and A Far Cry] caught and held the music’s patient grandeur, giving each phrase, each chord judicious gravity.” The Wall Street Journal called it “an inspired pairing,” adding “Mr. Glass could not have hoped for a more graceful, fluid reading.”
The idea first germinated in 2014, when Dinnerstein and Glass met for breakfast in his garden and found that they shared a strong interest in the music of Bach and its impact on the world today. Glass, having come to know her work over the years, o ered to write a piece for her, and Dinnerstein proposed that it be a concerto for piano and strings, to be paired with one of Bach’s own. She explains, “ There are almost no concertos written for piano and strings since Bach’s time. The pairing of the Bach concerto with Philip’s own composition creates myriad strands of connectivity, enabling the listener to create bridges between the old and the new.”
Glass finished Piano Concerto No.3 in 2017 as a response to hearing Dinnerstein play at the Glenn Gould Prize concert in Ottawa the previous year. He explains in the album’s liner notes, “I can say that Bach’s music was not consciously in my mind as I composed this new concerto, but in a way it’s unavoidable. My basic musical formation was influenced by the study of Bach for years during my studies with Nadia Boulanger. Inasmuch, while this piece itself is not directly influenced by Bach, his music is by definition a part of mine.”
Dinnerstein tours Glass’ Concerto No. 3 with the New Century Chamber Orchestra in California this May. A Far Cry and Dinnerstein will perform on May 25 at the Royal Conservatory in Toronto.
TOUR DATES 2018
April 7 - Erie, PA - Warner Theatre
April 21 - Fairfax, CA - GMU Center for the Arts Concert Hall
May 16 - Davis, CA - Mondavi Center for the Performing Arts
May 17 - Berkeley, CA - First Congregational Church
May 18 - Palo Alto, CA - Oshman Family Jewish Community Center
May 19 - San Francisco, CA - Herbst Theatre
May 20 - San Rafael, CA - Osher Marin Jewish Community Center
May 25 - Toronto, CANADA - Royal Conservatory
The pioneering classical percussionist Colin Currie launches his own label with a recording of Steve Reich’s iconic Drumming, performed by the Colin Currie Group and released worldwide on March 9, 2018. Colin Currie Records is a platform for the soloist’s diverse projects, celebrating the extraordinary developments for percussion music over the past century.
Drumming was the piece which launched the Colin Currie Group, a virtuoso ensemble of musicians hand-picked by Currie. Formed in 2006 for a performance at the BBC Proms celebrating the 70th birthday of Steve Reich, the group specialises in the American composer’s work. This recording was made possible by a crowd-funding campaign, which Reich enthusiastically endorsed, saying “It will be, I am sure, the best recording of Drumming ever made!”
Dating from 1971, Drumming is an epic work for nine percussionists, two vocalists and a piccolo player, and employs Reich’s trademark phasing technique. Over four connected parts, the composer explores different instrument groups, first focusing on bongo drums, then marimbas and glockenspiels before the complete ensemble come together for the piece’s climax.
The Colin Currie Group was formed in 2006 to celebrate the music of Steve Reich and made its five-star debut at the BBC Proms. Since then, with Reich’s personal endorsement, Currie and his ensemble have taken on the role of ambassadors of Drumming, which they have performed at many venues and festivals internationally. Currie is Artist in Association at London’s Southbank Centre, where he was the focus of a major percussion festival Metal Wood Skin in 2014 and continues to perform there every season. Currie is also Artist in Residence with Oregon Symphony Orchestra 2015/16 -2017/18. The three season residency includes annual performances with Oregon Symphony Orchestra, extensive education and outreach work, and this season sees the world premiere of Andy Akiho’s Percussion Concerto in April 2018, conducted by Carlos Kalmar. Distributed by LSO Live and its partners worldwide, Colin Currie Records is a platform for the soloist's diverse projects, celebrating the extraordinary developments for percussion music over the past century.
Mar 10 Saffron Walden, UK - Saffron Hall
Mar 24 Washington, DC - Library of Congress
Apr 7-9 Portland, OR - Arlene Schnitzer Concert Hall
Apr 19 London, UK - Southbank Centre
May 5 Antwerp, Netherlands - Queen Elizabeth Hall
Currie has recorded many concerto, recital and chamber works including Borrowed Time featuring music by Dave Maric (Onyx) and a Bartók recital album featuring the Sonata for two pianos and percussion Sz110 with Cédric Tiberghien and Sam Walton (Hyperion).
harmonia mundi launches the signing of Russian pianist Nikolai Lugansky with a new album featuring Rachmaninov’s complete Preludes (Digital release February 16 / Physical release March 30 in North America) followed by a Debussy album in October 2018.
Gramophone has described Nikolai Lugansky as “the most trailblazing and meteoric performer of all”.
Nikolai Lugansky can be heard in concert with the Baltimore Symphony Orchestra March 15, 16 and 17 performing Prokofiev's Piano Concerto No. 2 in G Minor. Other 2017/18 season highlights include concerts with the London Symphony Orchestra, the Orchestra dell’Accademia Nazionale di Santa Cecilia (Rome), the Hong Kong Philharmonic,the Junge Deutsche Philharmonie (Berlin) and the Yomiuri Nippon Symphony Orchestra (Tokyo). Nikolai Lugansky is artistic director of the Rachmaninov Festival in Tambov, Russia and is also a supporter of, and regular performer at the Rachmaninov Museum-Estate in Ivanovka.
World-Renowned Vocal Ensemble Stile Antico Joins 2018 GRAMMYs Lineup, Announces Major New Release and U.S. TourRead More
On February 2, Leif Ove Andsnes – the celebrated Norwegian pianist whose discography has already been recognized with six Gramophone Awards and BBC Music’s “Recording of the Year” – looks forward to the release of Stravinsky: The Rite of Spring & Other Works for Two Pianos Four-Hands. Recorded with Marc-André Hamelin for Hyperion, the new album is the first to capture on disc the collaboration that has, in live performance, been variously hailed as “a keyboard partnership of titans” (The Times of London) and “a meeting of two champions at the top of their game” (Washington Post). Just days after the release, Andsnes returns to the New York Philharmonic, where he currently serves as 2017-18 Artist-in-Residence, for Britten’s Piano Concerto under Antonio Pappano (Feb 8–10), before heading to Miami for Debussy’s Fantaisie for piano and orchestra with Michael Tilson Thomas and the New World Symphony (Feb 17 & 18).
New Stravinsky album on Hyperion
The centerpiece of Andsnes and Hamelin’s all-Stravinsky two-piano album is The Rite of Spring. First heard in public when the composer played through its opening half with Debussy, the piano four-hands arrangement of the Rite was also the first version to be published. For their two-piano arrangement, however, Andsnes and Hamelin have included a number of passages from the orchestral version that were missing from the four-hand original. Comparing their version with the orchestral one, the Norwegian pianist explains:
“In the two-piano version, listeners can really hear the inner workings, the ‘skeleton’ of the piece, and its rhythms and harmonies are more clearly delineated. For people who know the orchestral version very well and then hear it on two pianos, they get a fresh look into the piece. It becomes so transparent how the composition is built, its intrinsic workmanship. It’s very fascinating. Furthermore, there is sometimes such barbaric, direct, violent language in this composition that it’s pretty good on two pianos because the piano can be a very percussive instrument.”
The new recording also features the Concerto for Two Pianos. One of Stravinsky’s most important neoclassical keyboard works, the Concerto was written to perform with his son Soulima. Andsnes says:
“Stravinsky’s Concerto for Two Pianos is rarely performed. It is a very good title because it really is concerto-like for both instruments. It’s a virtuoso piece, full of colors and rhythmic excitement.”
Rounding out the album are three of the shorter pieces that Andsnes and Hamelin played as encores on tour. It was Soulima Stravinsky who transcribed “Madrid” for two pianos. Although better known as the fourth of his father’s Quatre études for orchestra, this was originally scored for pianola. By contrast, the tonal and popular Tango was written for solo piano, and – like the Circus Polka – arranged for piano duet by famed duo pianist Victor Babin. Subtitled “For a Young Elephant,” the Circus Polka was composed for the ballet George Balanchine choreographed for Ringling Bros. and Barnum & Bailey Circus, which premiered at Madison Square Garden with a cast of 50 ballerinas and as many elephants. Andsnes confesses:
“These pieces are just so much fun to have as encores. You can’t do the Circus Polka without the audience giggling – it’s such a humorous piece! It’s so nice to send people home with smiles on their faces.”
Despite the unforgiving nature of duo piano performance, and the rigorous synchronicity it requires, the quality of the Norwegian pianist’s collaboration with Hamelin must also be credited with many of those smiles. “To be in a musical partnership with real trust – there’s nothing better than that,” Andsnes says. When the two pianists toured together, critics on both sides of the Atlantic were quick to recognize their rare rapport. After their Wigmore Hall performance, The Guardian admired the “ideal balance” they achieved, in which “neither had lost his individuality, but the team was the thing. … Andsnes and Hamelin’s performance [of the Rite] had the irresistible power and momentum of a juggernaut.” The Financial Times marveled at their “mesmerisingpartnership” and the “myriad colours” they brought to the Concerto. The Times of London agreed: “We know their separate brilliancies … and at Wigmore Hall they combined with a sort of chemical finality. It was explosive.” Likewise at Carnegie Hall they impressed the New York Times with their “fearless, incisive and surprisingly alluring account” of the Rite and “commanding performance” of the Concerto, while their Chicago concert was “a resounding success,” in which “the judiciously balanced Hamelin and Andsnes struck sparks off one another to produce an astonishingly clean yet tremendously exciting performance. Here was a very different Rite of Spring than most of us know … [that] one was grateful to experience at white heat” (Chicago Tribune).
Stravinsky: The Rite of Spring & Other Works for Two Pianos Four-Hands
Leif Ove Andsnes and Marc-André Hamelin, pianos
International release date: Feb 2
Click here to preorder from Amazon
Stravinsky (arr. Andsnes/Hamelin): The Rite of Spring
Stravinsky: Concerto for Two Pianos
Stravinsky (arr. Soulima Stravinsky): Madrid
Stravinsky (arr. Babin): Tango
Stravinsky (arr. Babin): Circus Polka
[PIAS] America is pleased to announce that starting January 22, 2018 it will begin distribution of the LSO family of classical labels including LSO Live, King's College and Mariinsky. Also, in March 2018, the LSO will launch a new label, Colin Currie Records, which will also be distributed by [PIAS] America.
The first new release to be distributed by [PIAS] America, Farewell to Cambridge, comes out January 26 on King’s College. Stephen Cleobury produces a rich choral program centered around a poem by the celebrated Chinese poet Xu Zhimo, marking its first mainstream classical interpretation. Alongside it are popular classics by Mozart, Fauré and Duruflé, Stephen Cleobury’s new arrangement of the 18th century folk song Mo Li Hua (Jasmine Flower Song) and first release mixes of music from Favourite Carols from King's. In February, King’s College celebrates Valentine’s day with Love from King's featuring the close-harmony group The King's Men performing arrangements of popular favorites including classic tracks by Adele, Michael Jackson, Stevie Wonder, Simon & Garfunkel, Michael Bublé and more. The King’s Men is made up of singers from the Choir of King’s College, Cambridge and nine of the fourteen arrangements on this album were written specially for the recording. In March, Stephen Cleobury leads the Choir in a more traditional collection of Byrd Motets.
Anticipation is high for LSO Live’s first quarter releases. These include: On Haydn - An Imaginary Orchestral Journey in February where Sir Simon Rattle pays homage to Haydn as innovator, showcasing his most forward-looking and outlandish works in 50 minutes of uninterrupted performance and Mozart Violin Concertos 4 & 5 with Nikolaj Znaider as soloist and conductor, the first of two releases exploring all five Mozart violin concertos.
Fresh off their stunning 2017 world tour, Valery Gergiev and powerhouse pianist Denis Matsuev will come out with a pairing of Rachmaninov and Prokofiev Piano Concertos on the Mariinsky label in February. In this recording, Matsuev contrasts the two composers' second piano concertos, pieces that are both formidable and unmistakeably Russian in their own way.
The world-wide launch of Colin Currie Records kicks off in March 2018 with the debut album by Colin Currie Group: the ensemble founded by Currie to perform the music of Steve Reich. The recording of Reich’s iconic Drumming (1970-71) was made possible by a crowd-funding campaign which Reich enthusiastically endorsed saying, “It will be, I am sure, the best recording of Drumming ever made.”
On the new distribution agreement, Becky Lees, Head of LSO comments, "LSO Live and our partner labels are delighted to join up with [PIAS] in North America.” In partnering with [PIAS] America, the LSO family of labels joins one of the most respected and selective rosters of independent classical labels including Alia Vox, Channel Classics, harmonia mundi, Hyperion and Onyx Classics.
[PIAS] America congratulates the artists and labels we've represented during this past GRAMMY season who have been nominated for the 60th GRAMMY® Awards.
GRAMMY® Award-winners Michael Tilson Thomas and the San Francisco Symphony are recognized for their outstanding recording of Debussy's Images; Jeux and La plus que lente receiving a Best Orchestral Performance nomination.
Divine Theatre, a collection of sacred motets by the Franco-Flemish composer Giaches De Wert, earns vocal ensemble Stile Antico a nomination for Best Chamber Music / Small Ensemble Performance. The album has already landed on prominent Best of 2017 critical lists and this marks the group's third GRAMMY nomination on harmonia mundi.
Returning for his second recording of the Haydn Cello Concerto, this time released on Britain's Brightest record label Hyperion,the renowned cellist Steven Isserlis is honored with a nomination in the category of Best Classical Instrumental Solo.
Early music superstar Jordi Savall's latest major endeavor "The Routes of Slavery" (VIDEO: Les Routes De L'Esclavage) on Alia Vox is nominated for Best Classical Compendium. Here Savall brings together artists representing Europe, Africa, and the Americas to explore the music through which enslaved peoples forged a sense of community, preserved their own humanity, and found a way to endure in the face of unspeakable bondage. "The Routes of Slavery" honors their journeys through the incredible musical legacy they left and illuminates both the cruelest depths and extraordinary resilience of the human spirit. It recently received its U.S. premiere at Lincoln Center's White Light Festival in New York and was praised for being "... an inventive, moving, dare I say, uplifting evening of words and music.... that is Savall’s genius."
The GRAMMY® Award-winning team of Michael Tilson Thomas and the San Francisco Symphony present a premium edition two-disc recording of the complete symphonies of Robert Schumann, one of the most evocative composers of the Romantic era. Michael Tilson Thomas’s nuanced approach accentuates the tender, simple, and vulnerable side of Schumann’s symphonies, which MTT calls a “preserve for endangered emotions.” Recorded live, these performances of Schumann’s symphonies were hailed as “nothing short of magnificent” by the San Francisco Chronicle.
The album features Martin’s original music from the films Yellow Submarine, Live and Let Die and the previously unrecorded choral and orchestral score for The Mission together with the Overture to Under Milk Wood, the suite Three American Sketches for violin and chamber orchestra and other previously unreleased original compositions.
Newly recorded at the The Meistersaal, Berlin by Emil Berliner Recording, the project will be released on November 10 in CD and digital download formats. Furthermore, in January 2018 - to celebrate George Martin’s birthday (January 3) – the vinyl will be released as a deluxe 2LP set, pressed on heavy-weight vinyl, housed in a varnish-finish, gate-fold sleeve complete with download codes.
In 2015 Leon was asked by the Martin estate to join their team working on a book of George Martin’s manuscript scores, due to be published in 2018. This provided him with the opportunity to study first-hand the majority of the output of Martin’s orchestral career, both as an arranger and as a composer. Notes Leon: “I had had sight of some of the scores whilst George was still alive and it was an honor to be asked to work on this project. I was struck by the elegance and unity of style that carried over in all of George Martin’s musical efforts, regardless of whether it was a pop or jazz arrangement, a film score or a concert composition. Longtime George Martin manager, Adam Sharp and I agreed that it was a wonderful opportunity to provide an overview of this body of original work and to frame it in an album that would showcase the diverse talents of this major figure in recorded music. We also found several pieces tucked away in with the other scores that had not been previously commercially available. I wanted to record them to paint a fuller picture of Martin’s output. George Martin never became ‘the next Rachmaninov’ as he originally set out to do in his youth but he achieved something that, to me, was equally - if not more - important. He became an integral part of the process of breaking down the barriers between pop, film and classical music that thankfully exist less and less as part of our musical culture.”
[PIAS] Classics is proud to announce the nomination of Jordi Savall and his album Dixit Dominus for "Best Classical Album" at the 18th Annual Latin Grammy Awards!
A cornerstone of the Bible, this program from Jordi Savall features three masterpieces based on the Dixit Dominus that enable us to experience the full maturity of his ensembles. The vivid orchestral colors, the ideal spacing of the instruments, the infallible virtuosity of the choir. This performance brings out both the delicate and the bold within these works establishing a new standard for recordings of 18th Century music. Maestro Savall's complete discography is on his own label ALIA VOX.
“A certifiable superstar.” —The New Yorker
For more than 50 years, maestro Jordi Savall has rescued musical gems from the obscurity of neglect and oblivion. A tireless researcher into early music, he interprets and performs the repertory both as a gambist and a conductor. Savall has recorded and released more than 230 albums covering the Medieval, Renaissance, Baroque and Classical music repertories, with a special focus on the Hispanic and Mediterranean musical heritage, receiving many awards and distinctions such as the Midem Classical Award, the International Classical Music Award and the Grammy Award.
His concert programs have made music an instrument of mediation to achieve understanding and peace between different and sometimes warring peoples and cultures. Accordingly, guest artists appearing with his ensembles include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican and North American musicians. In 2008 Jordi Savall was appointed European Union Ambassador for intercultural dialogue and, together with his wife Montserrat Figueras, was named “Artist for Peace” under the UNESCO Goodwill Ambassadors program. Jordi Savall’s prolific musical career has brought him the highest national and international distinctions, including the order of Chevalier de la Légion d’Honneur (France), the Praetorius Music Prize, the Gold Medal of the Generalitat of Catalonia and the prestigious Léonie Sonning Prize, considered the Nobel prize of the music world. “Jordi Savall testifies to a common cultural inheritance of infinite variety. He is a man for our time” (The Guardian).
Kyle Eastwood Launches New Album "In Transit" with U.S. Tour
SEPT 3 - Detroit, MI - Detroit Jazz Festival
SEPT 9 - Los Angeles, CA - The Blue Whale
SEPT 10 - San Clemente, CA - Casa Romantica Cultural Center & Gardens
SEPT 15 - Napa, CA - Blue Note
SEPT 16 - Monterey CA - 60th Monterey Jazz Festival
Available on Jazz Village [PIAS]
Digital World Wide: October 20 | CD & Vinyl North America: October 27
Capping two extraordinary decades as a recording and performing artist, Kyle Eastwood's stylistically eclectic new album In Transit reflects the whirlwind reality of the breakneck schedule that Kyle and his longtime ensemble keep as they perform three quarters of the year in Europe - with a yearly jaunt to Asian countries and occasional swings to the U.S.
The Los Angeles bred, Paris based bassist and composer estimates that about half of the tracks were "road tested," with a few rendered completely fresh in the studio. "That's part of the concept, all the moving around and spending time on the road and working through our favorite material."
Just as on his previous two critically acclaimed collections The View from Here and Time Pieces, Kyle plays with a powerfully swinging yet beautifully soulful and sensual quintet of young English musicians. The longest-term members of Kyles powerhouse quintet are pianist Andrew McCormack (12 years) and trumpeter and flugelhornist Quentin Collins (9 years). Newer to the fold, and adding brilliantly to the shared chemistry, are tenor and soprano saxophonist Brandon Allen (who made his first appearance on Time Pieces) and the latest member, drummer Chris Higginbottom.
After inviting renowned Italian saxophonist Stefano Di Battista to join the ensemble on numerous gigs throughout Europe, Kyle invited him to bring his lush and lyrical sensibilities to the Sextant La Fonderie Studio in Malakoff, France to record on four tracks of the new album. The most prominent of these is the intimate and dreamlike acoustic re-imagining of "Love Theme from Cinema Paradiso," which was penned by Ennio Morricone, one of Kyle's favorite film composers; having previously played with the great Italian composer, Di Battista brings an intimate familiarity to the piece.
"We all have similar tastes in music," he adds, "and after playing together for a while have truly developed a unique musical camaraderie and dialogue that allows us to play seamlessly in sync and intuitively know just when to break for every member to take a solo."
The rhythmically intense, vibrantly re-imagined jazz classics on In Transit -- Count Basie's "Blues in Hoss' Flat," Mingus' "Boogie Stop Shuffle" and Thelonious Monk's "We See" -- create a wonderful dual sense for Kyle of coming full circle paying homage to his influences while bringing those traditions into a forward thinking contemporary context. Original compositions like the freewheeling funk-jazz hybrid "Rockin Ronnies" (an homage to Ronnie Scotts Jazz Club, the bands favorite London hotspot) and the brisk, high octane trip through a frenetic "Rush Hour" highlight the compositional talents of each member individually and collectively. Other key tracks include the McCormack penned "Jarreau," a whimsical romp that pays tribute to the late great Al Jarreau, which borrows some harmony lines and chord changes from the singers "Not Like This," and "Soulful Times," a soaring and soul-jazz piece that opens the collection and introduces the ensemble's sense of easy swing, bright piano harmonies, dynamic horns and the infectious pocket grooves of Kyle and Chris Higginbottom. "I really think everyone played their pants off on this album, and I'm really happy with the way it turned out."