In addition to its own wide-reaching monthly new releases (see www.naxos.com/newreleases.asp), Naxos also distributes several leading labels in many countries around the world. Here is a choice selection of recent releases from some of these distributed labels.
Founded in 1945 by George Mendelssohn Bartoldy (1912–1988), VOX played a major role in discovering and promoting talents such as Alfred Brendel, Ingrid Haebler, Walter Klien, Michael Ponti, Aaron Rosand, Ivry Gitlis, Michael Gielen, and Rolf Reinhardt. It also reintroduced American listeners to established European conductors like Otto Klemperer, Jascha Horenstein, Ionel Perlea, Hans Rosbaud, Clemens Krauss, Mieczyslaw Horszowski, Stanisław Skrowaczewski, and Friedrich Wührer. VOX also recorded with other notable artists, including Lili Kraus, Vlado Perlmutter, György Sandor, Ruggiero Ricci, Shura Cherhassky, Susanne Lauterbacher, Robert Firkusny, and Abbey Simon.
Many of the VOX recordings, especially complete orchestral cycles featuring American orchestras, were realised by the GRAMMY-awarded production team of Marc Aubort and Joanna Nickrenz from the Elite Recordings Studio, while many others were produced by the Südwest Tonstudio in Germany, founded by Heinz Jansen. Considered by audiophiles to be among the best-sounding orchestral recordings ever made, these original analogue tapes have now been meticulously restored and remastered into high-definition transcriptions, with stunning results, and released under the new Audiophile Edition.
Rachmaninov’s Symphony No. 3 in A Minor is a radiant synthesis of the composer’s early and later periods. Poorly received at the time, its lyricism and colour are pervasive, and it has duly taken its place in the repertoire, not least because of its warm-hearted voluptuousness, rhythmic vitality and inventive structure. Written in 1891, a single movement is all that exists of the Symphony in D Minor, ‘Youth’, while The Rock is an early example of Rachmaninov’s powers of descriptive intensity. These acclaimed VOX recordings conducted by Leonard Slatkin were originally issued in 1979 and 1982.
The premiere of Rachmaninov’s Symphony No. 1 in D Minor was a notorious failure. It took until the 1940s for the work to gain recognition, and it contains much that is recognisable from the composer’s later works – brooding intensity, lyricism and yearning, orchestral colour and grandeur, written in a profoundly Russian manner. Unperformed during his lifetime, Prince Rostislav exudes Rachmaninov’s familiar qualities of melancholy and voluptuousness; and both works feature his pervasive use of the Dies irae theme. These acclaimed VOX recordings conducted by Leonard Slatkin were originally issued in 1977 and 1982.
Antonín Dvořák’s Symphony No. 9, ‘From the New World’ is celebrated as a universal masterpiece, connecting with audiences worldwide. Composed by a maestro from the ‘old world’ and premiered in the ‘new world’, this symphony has achieved widespread recognition. When performed by an orchestra rooted in Czech traditions and conducted by a Czech principal conductor, it delivers a truly extraordinary and unique musical experience. In April 2023, the Bamberg Symphony and Jakub Hrůša recorded this symphony using a special process known as direct-to-disc recording, in which a lacquer serves as the recording medium. The signal from three microphones was sent via an analogue mixing console directly to the cutting stylus, which carved the groove into the original at 45 revolutions per minute. The LPs in this box set are exact copies of the originals, of which, in reference to the year of the premiere at Carnegie Hall in New York, 1893 sets were pressed in a limited and numbered edition. Since this recording comes extremely close to a real concert experience, the box set also includes an ‘encore’ on a third LP, Dvořák’s Waltz, Op. 54 No. 1, commonly performed alongside the Ninth Symphony.
Nikolaus Harnoncourt is credited with making historical performance practice respectable in Salzburg. His memorable debut concert in 1980 was the prelude to a long string of successes that culminated in the Mozart Week 2006, when Harnoncourt was Artist in Residence and gave his acclaimed ceremonial address on 27 January on the occasion of the 250th anniversary of Mozart’s birth. The inaugural concert and rehearsals from 2006 can be heard on this album.
The 3-disc edition covers the period of Harnoncourt’s influence on the interpretation of Mozart’s music. Harnoncourt’s inaugural 1980 concert is juxtaposed with rehearsal recordings from 2006. Both provide fascinating insights into the famed conductor’s thought processes.
Bruckner’s Fifth is a contrapuntal masterpiece and his grandest symphony until we reach the Eighth. Its finale is a tour-de-force and gives us an idea of what the finale of his uncompleted Ninth Symphony might have sounded like. The descending bass line of its magnificent dark and halting opening – so effectively recalled in the finale – is inimitable. Although it was for long available only in an inauthentic version by Franz Schalk, it’s distinguished by never having been subject to revision by Bruckner, who was to die before he was even able to hear it performed by an orchestra. When Bruckner wrote his masterpiece, he was still far from establishing himself as a composer in Vienna. His spirits were at a low ebb when he wrote to a friend that “my life has lost all joy and delight – in vain and for nothing.” The Fifth represents a radiant pinnacle amid that sense of darkness.
Louis Wayne Ballard – also known as ‘Honganozhe’, which means ‘Stands with Eagles’ in the Quapaw language – was the first indigenous North American composer of art music, and his extensive knowledge of the music, dance and mythology of this culture informed his compositions. Ballard’s style was eclectic, embracing tonal and twelve-tone elements, and the selected pieces presented here reflect the unique variety of his achievement. This album of world premiere recordings features his third ballet, The Four Moons, which embodies a rich cache of classic dances, and the Fantasy Aborigine No. 3, ‘Kokopelli’ with its battery of unique percussive instruments.
This new album conducted by Nicholas Collon continues Ondine’s award-winning series of orchestral works by Witold Lutosławski (1913–1994) in collaboration with the Finnish Radio Symphony Orchestra. The series has received several accolades, including a GRAMMY nomination, a BBC Music Magazine Awards nomination, and numerous ‘recording of the month’ awards and ‘best recording of the year’ nominations. This album includes the composer’s early hit, his folkloric masterpiece Concerto for Orchestra, which is one of his most frequently performed compositions. The album also features Partita for Violin and Orchestra, with Christian Tetzlaff as soloist, a virtuosic five-movement work that, in its orchestral version, is akin to a Violin Concerto. The rarity in the album is Lutosławski’s Novelette from 1979, which, although fragmentary, already hints at the ideas of his Third Symphony.
Music has the ability to bring different historical eras to life, making them feel vivid and present in the current moment. Exactly four centuries prior to this recording, William Byrd (1543–1623) died, and here, he is resurrected through the magnificent tribute piece, The Bells. Similarly, Brandenburger Remixed was composed as a tribute to the 300th anniversary of the Brandenburg Concerto No. 2; its legendary virtuoso trumpet part remains an outstanding benchmark for all trumpet soloists today. The saxophone concerto, Siddharta, was composed in 2021 to mark the centenary of the first edition of Hermann Hesse’s novel, acclaimed by millions, in which, Hesse so unprecedentedly aptly described a living Buddha who takes us back some 2,500 years into the past. Finally, Silk Road refers to Marco Polo, probably the most prominent explorer, who died exactly 700 years ago in January 1324 in his birthplace Venice. Let’s bring back all these places and times with the colourful sound world of these Time Travels to experience them all over again.
Ivan Repušić made his debut as the principal conductor of the Munich Radio Orchestra in September 2017, conducting Giuseppe Verdi’s Luisa Miller. This was followed by I due Foscari in October 2018 and Attila in October 2019; the complete recordings have already been released by BR-Klassik under catalogue numbers 900323, 900328, and 900330. His successful cycle of early masterpieces by the Italian opera composer continues with the recent concert performance on April 23, 2023, of Verdi’s stage work I Lombardi – also at the Prinzregententheatre in Munich. Authentic fluidity and vocal splendour are once again on full display courtesy of the outstanding performers and the Bavarian Radio Chorus. The Munich Radio Orchestra plays under the direction of Ivan Repuŝić. This highlight of Munich’s musical life from the early part of this year has now been released by BR-Klassik as a double-disc title.
Ivan Repušić’s commitment to Verdi’s early operas deserves high regard, and this performance of I Lombardi is a truly theatrical Verdi work – vital, powerful, fiery, and exceptionally exciting.
Chicago a cappella, the innovative vocal ensemble praised for its ‘clarity, well-balanced tone, and deep emotional involvement’ (Washington Post), presents Miracle of Miracles – Music for Hanukkah, a new recording aimed at unveiling the richer meaning of the Festival of Lights, with music that ranges from heartfelt prayers to jazzy and playful holiday favourites, showcasing the creativity and vitality of American Jewish musical traditions.
The album features a collection of songs from more than 25 years of Chicago a cappella performances, arranged into a single program that replays the story of Hanukkah, from celebrations of the holiday itself through to its candles, miracles, religious observances, and traditional food and games.
Collectively in search of Hanukkah songs from different Jewish traditions and communities, seven living composers/arrangers/musicians including Robert Applebaum, Gerald Cohen, Joshua Fishbein, Elliot Z. Levine, Jonathan Miller, Daniel Tunkel, and Mark Zuckerman bring fresh perspectives to songs celebrating the miracle of light.
In the realm of classical music, Rued Langgaard (1893–1952) continues to surprise with his arch-Romantic oeuvre. Each encounter with his compositions promises a journey into uncharted territory, a testament to his ever-evolving creative spirit. This is particularly evident in his songs to Danish texts, many of which are recorded here for the first time. Louise McClelland Jacobsen and Kristian Riisager deliver a captivating performance, offering insight into Langgaard’s essence as both a musical genius and a human being – from his hyper-talented teenage years to his visionary early twenties.
The Hanseatic wealth of North Germany in the 17th century is reflected in its magnificent cathedrals, and the enormous grandeur of its church music was composed to fill the rich acoustics of these spaces. This programme presents a wide range of Easter music that displays the wealth of inventiveness in this period, enhancing the texts and finding different colours and surprising effects through improvisation and adaptation of the manuscripts. This early music is brought vividly to life by the acclaimed Margaretha Consort.
Rimsky-Korsakov’s Christmas Eve, based on a short story by Gogol, centres on the love of the blacksmith Vakula for the rich farmer’s daughter Oksana, who mockingly requires him to obtain for her the Tsarina’s shoes in order to win her hand in marriage. However, evil spirits are on the rampage imperilling their love – a witch on her broomstick gathers the stars and the devil steals the moon. Rimsky-Korsakov blends Christian and pagan elements, Ukrainian folk songs and carols, and atmospheric orchestral interludes in this vivacious and fantastical village romance.
This year marks the 90th birthday of Krzysztof Penderecki (1933–2020), one of the most prominent 21st-century Polish composers. Sacred themes and texts permeate the creative work of Penderecki, notably in many of his large-scale compositions. This album, performed by the award-winning Latvian Radio Choir under the direction of Sigvards Kļava, encompasses a significant portion of Penderecki’s impressive sacred a cappella choral works spanning five decades, mainly written in Latin. These deeply religious choral pieces have become modern classics in the choral repertoire. The choir’s recent album, featuring choral works by John Cage, earned the prestigious Gramophone Award 2023 for the best choral album of the year.
Hugo Distler’s exquisite Christmas narrative draws inspiration from German Protestant sacred music of the early Baroque era, particularly the music of Heinrich Schütz. Following Schütz’s example, Distler composed his Christmas story exclusively for vocalists – soloists and a 4-8-voiced ensemble. In Distler’s own words, it is described as an ‘Oratorium mit kammermusik-alishem Charakter’ (an oratorio with a chamber music-like character). The composition also incorporates sections of the beautiful choral piece Es ist ein Ros entsprungen, which makes seven appearances throughout the narrative, each time presented in a new harmonic colour.
In the cycle of poems, titled Novembrig, Swiss lyricist Elsbeth Maag, explores the innate nature of dying and death as integral components within the perpetual process of existence. Approaching this often-repressed topic with both tenderness and encouragement, the poet employs vivid imagery, to create verses that are simultaneously sensuous, comforting, and mysterious. Ulrich Zeitler’s setting of Novembrig in 2021/22, initiated by the Swiss cultural promoter Alois Bischof is based on the poet’s standard German version from 2017, originally written in the Swiss dialect in 1997. Zeitler’s composition draws inspiration from the richness of colours and images evoked by the lyricist’s concise and powerful words. It sensitively explores the atmospheric density, the unspeakable, residing in the spaces between the lines. The diverse layers of the topic create a cosmos of sounds that transforms the heavy into light.
Gregor Aichinger (Regensburg, 1564/65 – Augsburg, 20/21 January 1628) gained valuable experience during two distinct periods in Italy. This exposure positioned the Bavarian musician as the crucial link between the musical practices in Italy of that time and the musical culture on the other side of the Alps. Aichinger, being one of the very first German musicians to publish compositions with basso continuo, acquired this practice during his visits to Italy.
The Virginalia, consisting of twenty-five parts, begins with the introductory piece, Virgo, Dei mater pura, followed by pieces representing the Joyful Mysteries (from the second to the sixth). Subsequently, the Sorrowful Mysteries (from the seventh to the eleventh) are followed by the Glorious Mysteries (from the twelfth to the sixteenth). The last four pieces offer a contemplation of the Virgin Mary projected in a light and a dimension beyond the worldly, serving as the mediator between humanity and God.
The ensemble Concentus Vocum, directed by Michelangelo Gabbrielli, performs this collection dedicated to Maria. The ensemble has previously been featured in significant world premiere recordings, including the Armonia Ecclesiastica (1653) by the composer Sisto Reina (TC621801).
Joachim Andersen (1847–1909) charted an exceptionally diverse path in his career. At the heart of it, he stood as a founding member of the Berlin Philharmonic, adroitly balancing roles as a conductor and a solo flautist of great renown. His legacy includes the composition of eight volumes of études, now considered a cornerstone of the flute repertoire. Andersen emerges as a composer deeply rooted in his era, a sentiment vividly expressed through the enchanting and emotionally resonant tapestry of his works for flute and piano. This essence springs to life in these performances, impeccably interpreted by Alena Walentin and Berit Johansen Tange.
During his student years in Naples, Saverio Mercadante wrote a sequence of flute quartets at a time when Italy’s musical landscape was dominated by opera. The first two quartets reflect his command of lyricism, thematic invention and use of embellishments. These examples of the quatuor brilliant style are augmented by the concertante virtuosity of the Quartet in E Minor in which all instruments have more decisive roles to play in music of gravity and excitement that even reflects the influence of Rossini. These are world-premiere recordings.
This programme reflects a magical world akin to the visual experience of looking into and turning a kaleidoscope. The Mobilis Saxophone Quartet demonstrates diverse and overflowing facets of the classical saxophone. The repertoire spans significant names from music history, including one of the most crucial composers for the early history of the saxophone in the 20th century and a contemporary work by a prominent Austrian composer. The instruments traverse various styles, resembling an organ with J. S. Bach’s renowned organ work, the Toccata and Fugue in D Minor, BWV 565. They transition into a colourful orchestral style with Johann Strauss Jr.’s Fledermaus Ouverture, adopt a chamber-music-string-quartet approach with Alexander Glazunov’s Saxophone Quartet in B-Flat Major, Op. 109, and explore a spectral, quasi-electronic manner with Georg Friedrich Haas’ Saxophone Quartet. Soprano saxophonist and ensemble founder Michael Krenn explains, ‘With this colourful mix, we aim to express our passion for various musical styles and reach listeners with diverse musical backgrounds. The title seems fitting, inviting listeners to have a kaleidoscopic listening experience, surprised by the different sounds and fragments of music history.’
The city of Eisenstadt was the location of the Esterházy Court where Joseph Haydn was music director for 25 years. Prince Nikolaus commissioned Haydn to write trios for the baryton, an instrument on which the Prince had become proficient. The baryton is a bowed, stringed instrument similar to the viol but with extra plucked strings that can enable the performer to accompany themselves. For Nikolaus, Haydn wrote string trios of elegance, refinement and poise that encapsulate a rich variety of moods. Seldom performed or recorded, the baryton trios attest to Haydn’s limitless powers of invention in every medium.
‘Vivian Fung has long been a friend and admired composer of the Jasper String Quartet. The Quartet first performed one of her works in 2019, and we were immediately captivated by the visceral energy and impeccable craft of her writing. Vivian’s String Quartets Nos. 1–4 span 18 years of her career and reflect a remarkable journey of absorbing, integrating, and synthesizing a unique spectrum of influences into her compositional voice. Unwavering in all of the works is a fierce heart, instrumental fearlessness, and an amazing instinct for texture. We are incredibly grateful to have recorded these works with Vivian in the studio and for the growth we experienced in the process.’ – Jasper String Quartet
Armand-Louis Couperin (b. Paris, 25th February 1727 – d. Paris, 2nd February 1789) dedicated his second set of harpsichord pieces to a young girl, specifically a pupil named Anne-Louise-Marie de Beauvau-Craon (1750–1834). At the time, she was receiving a high-quality education at the Port-Royal convent, including music lessons from Couperin himself.
The publication of Couperin’s Sonates en pièces de clavecin marked the end of a fifteen-year hiatus in the composer’s production since the 1751 publication of the first book of Pièces de clavecin, dedicated to Madame Victoire de France. The preface emphasises the author’s integrity and discretion, acknowledging the public’s judgment while striving for innovation.
Sonates en pièces de clavecin provides insight into Couperin’s approach: renewing the French style by incorporating Italian elements. This involved naturalising the Italian sonata’s novelties within the tradition of the French clavecinistes, creating a synthesis that reconciled head and heart. Couperin achieved this by combining the resources of a harpsichord with a violin, resulting in a blend of orchestral force and vivacity with the grace of varied melodies.
Rakhi Singhis a versatile UK-based artist known for her roles as a violinist, music director, curator, and composer. In 2016, she co-founded Manchester Collective, a progressive ensemble recognised by the BBC for ‘transforming all our perceptions of what a classical music group can be.’
Sabkha, the first single from Singh’s full-length debut album Purnima – is a captivating exploration into signal processing and multi-tracking for the violin. Singh’s own wordless vocals contribute to the hypnotic mood of this stirring stream-of-consciousness piece. Purnima, which translates literally from the Sanskrit as ‘she who is the full moon,’ is not only Singh’s middle name, it’s also a source of spiritual inspiration that has guided her own musical journey on the violin. Interpreting works by composers Alex Groves (Trace I), Emily Hall (Outshifts), Julia Wolfe (LAD) and Michael Gordon (Light Is Calling), and augmenting them with unearthly electronic and electro-acoustic textures, Singh creates a haunting dream world of melody and sound that doesn’t quite emit a completely ‘classical’ aura but instead suggests an altogether new one.
Selim Palmgren was one of the most prominent composer-pianists of his era, and is also noted as one of the earliest composers of Impressionist piano miniatures, beautifully represented in the nostalgic atmosphere of his Impromptu dans la solitude, Op. 63, No. 2. The autobiographical Päiväkirjan lehtisiä, Op. 109 (Diary Sheets) belongs amongst Palmgren’s final works for the piano. This seventh volume in Jouni Somero’s acclaimed edition of Palmgren’s complete piano works includes many rarities and premiere recordings.
This series marks the 200th anniversary of the birth of Anton Bruckner, which falls in 2024. It’s dedicated to Bruckner’s symphonies, most of which are heard in new transcriptions for organ performed by Hansjörg Albrecht.
This latest album in the edition features Erwin Horn’s transcription of Bruckner’s Eighth Symphony, performed on the organ of the Musikverein in Vienna.
Winner of the prestigious American Bandmasters Association’s Ostwald Award for composition, Peter Graham is one of the leading brass band composers of his generation. Graham’s previous Naxos album with the Black Dyke Band, Metropolis 1927 (8.573968), received widespread acclaim from the brass band press. The five world premiere recordings heard on this album represent his long association with Black Dyke. The trumpet concerto Master of Suspense references Alfred Hitchcock’s iconic movies, the virtuoso euphonium concerto Force of Nature was inspired by Ernest Hemingway’s extraordinary life, and The Triumph of Time is a dazzling example of compositional craft and brass band virtuosity.
When Tchaikovsky premiered his famous ballet The Nutcracker in Saint Petersburg 130 years ago, it was presented as a double bill, as standard at the time, together with the opera Iolanta. The Volksoper Wien, being part home to the famous Wiener Staatsballett, under the helm of the new artistic director Lotte de Beer and music director Omer Meir Wellber presents both works again in one evening, but not as two separate pieces, but as a fusion of the two works into one. It’s a ‘successful debut that is also musically convincing’ and the ‘two pieces intertwine like gears’. Jorine van Beek’s costumes make it a ‘feast for the eyes’ (Die Presse). ‘This imaginative ‘music theatre for the whole family’ enchants above all the numerous children and young people. (…) The Volksoper Orchestra once again demonstrated its power of performance’ (Frankfurter Allgemeine Zeitung). In short: it’s a family show to the core!
An array of musical stars converges in Leipzig to celebrate the 300th anniversary of Johann Sebastian Bach taking up his appointment as Kantor at the city’s iconic Thomaskirche – a post that he occupied for more than a quarter of a century, covering a period in which he created many of his greatest works. On a special open-air stage in the market square of Leipzig, the Thomaner Choir and the Gewandhaus Orchestra under their current Thomaskantor Andreas Reize were joined by Lang Lang, Daniel Hope, Albrecht Mayer, Sophie Kauer, Francesca Aspromonte and Cameron Shahbazi.
Music includes highlights of Goldberg Variations, Mass in B Minor, Cello Suite No. 1, Double Concerto for Violin, Oboe, Strings, Orchestral Suites, and various Arias…
Composed for the Paris Opéra, the romantic but ultimately tragic narrative of Donizetti’s grand opera La favorite is set amidst the Moorish invasions of Spain and the power struggles between religion and the state in the 14th century. The novice Fernand abandons his monastery having fallen in love with the noble Léonor, not knowing that she is the King’s mistress and favourite. Drawing on traditions established by Rossini and Meyerbeer, La favorite is noted for Donizetti’s innovative use of the orchestra and for some of his most renowned and enthralling arias. This acclaimed production opened the 2022 Donizetti Opera Festival in Bergamo, and is performed with its original French libretto.
Triumphantly premiered in 1868, Die Meistersinger von Nürnberg evokes the singing guilds of mid-16th-century Nuremburg, a focal point of the Northern European Renaissance. Wagner’s only mature comic opera concerns the young knight Walther von Stolzing’s love for Eva whom the town clerk Beckmesser also covets. Against the background of a singing contest, cobbler-singer Hans Sachs’ nobility ensures the reconciliation of youth and age, and tradition and innovation. Deutsche Oper Berlin’s provocative new staging was considered ‘entertaining throughout’ and ‘thought-provoking’ by BR Klassik.
A timeless classic story is presented in a brand new production full of fairy-tale magic and superb dancing.
Marianela Nuñez and Vadim Muntagirov star as Cinderella and The Prince in Frederick Ashton’s timeless reworking of Charles Perrault’s famous rags-to-riches story, showcasing the choreographer’s deft musicality and the beauty of Prokofiev’s transcendent score. A creative team steeped in the magic of theatre, film, dance and opera brings new atmosphere to Cinderella’s ethereal world of fairy godmothers and pumpkin carriages, handsome princes and finding true love.
Marcia Haydée – The Seduction to Dance
Marcia Haydée – for many the ‘prima ballerina assoluta’ of the 20th century, John Cranko’s muse and long-time director of the Stuttgart Ballet. On the occasion of her 80th birthday, Harold Woetzel pays homage to this unique artist by telling the ballerina’s captivating story.
Friedemann Vogel – Incarnation of Dance
Milan’s Teatro alla Scala, Moscow’s Bolshoi Theatre, Tokyo’s National Theatre and of course, Stuttgart Ballet – Friedemann Vogel, winner of numerous significant dance awards, has conquered the most important ballet stages in the world. This intimate portrait accompanies the luminary of the ballet scene around the world and provides insights into his life as a dancer, the constant training and rehearsals, the loneliness on tour as well as the fear of a career-breaking injury. It features interviews with Vogel’s dance partners and role models at the Stuttgart Ballet, such as Marcia Haydée, and excerpts from his performances.
Carrying Los Ruphay’s ambition to develop awareness and appreciation for the rich tapestry of Bolivian heritage, this album highlights the three seasons of the Aymara annual cycle and the impacts that climate change is having on their culture today. An uplifting album conveying the wind and grandeur of the high plateaus of the Andes through the entrancing melodies of panpipes, charangos and other traditional instruments. A tribute to Los Ruphay’s founder Mario P. Gutiérrez.
The 2021 album Leave Your Thoughts Here (NXN4005) was described as ‘clearly a major recording event of the year’ (JazzViews, UK) and ‘ten mouth-watering pieces of music’ (UK Vibe) and was embraced by listeners worldwide. As usual, Mr Mibbler continues to surprise and delight, and their follow-up Falling Ladder contains two longer pieces of music. Though this is not in the traditional song format, you will recognise the sounds and ambience that characterise the releases from this exciting Norwegian three-piece music collective.
Jazz guitarist and composer Martin Högberg leads an exciting guitar trio alongside fellow musicians Aksel Jensen on bass and Håkon Mjåset Johansen on drums. Their latest album, MH3, takes listeners on a fascinating journey through a diverse range of jazz moods. Högberg’s masterful compositions, infused with his unique artistic vision, showcase the exceptional musical synergy and individual brilliance of the trio. Adding a delightful twist to the album is the timeless track Neon Lights, a classic piece composed by the legendary trio of Ralf Hütter, Florian Schneider, and Karl Bartos. This inclusion pays homage to jazz roots while simultaneously exploring new musical horizons.
Celeste is the sixth solo album of Danish jazz singer, songwriter, and guitarist Mette Juul, widely acclaimed for her contributions to the genre. This highly anticipated record comprises a collection of personal interpretations of timeless American classics, modern compositions, and original songs written by Juul herself. The album features collaborations with American virtuoso guitarist Mike Moreno and award-winning multi-instrumentalist Lars Danielsson, both of whom showcased their talents on Juul’s previous EP, New York – Copenhagen (2020).
Established trumpeter Torsten Maaß has been working for many years with numerous big bands as a composer, arranger and guest conductor. He collaborated on productions with Max Mutzke, Clueso, Ack van Rooyen and many more. Under his direction, the SWR Big Band played and recorded a selection of his life-inspired works that lay stylistically between modern mainstream and Bob Brookmeyer, in whose New Art Orchestra he was a founding member as a trumpeter. This collection of works is now released on the album Music Written by Real Life.
The SWR Big Band and Fola Dada have been successful collaborators for many years and with their new studio album As We Speak, they broaden their swing repertoire to include music of the 1960s; there are also swing classics such as You Go to My Head. All of which enables the multi-GRAMMY-nominated SWR Big Band to confirm their reputation as a fantastic swing formation that manages to underline new aspects of traditional pieces again and again.
Music, as Carl Nielsen eloquently asserted, can only truly be grasped through a musical understanding, transcending the limitations of mere words. This declaration takes on profound significance, especially considering the historical backdrop wherein Nielsen voiced these words – an era where composers often drew inspiration from literary concepts, giving birth to programmatic music. However, Nielsen’s Fourth Symphony, famously titled The Inextinguishable, transcends conventional musical interpretation. Like all impactful compositions, this symphony becomes entwined with the spiritual essence of its creator, a tangible manifestation of personal experiences meticulously organised through the language of music.
Vox warmly invites you to experience the brilliance of Carl Nielsen’s Symphony No. 4, presented in collaboration with the renowned Royal Danish Orchestra. This orchestral masterpiece comes to life under the masterful baton of conductor Igor Markevitch, an esteemed figure distinguished as one of the great conductors of the century. Download and enjoy!
The Fourth Symphony emerged during the First World War, a time when the world was disintegrating, and national feelings turned into a destructive force. Despite these internal and external challenges, Nielsen produced his grandest and most audacious work, ‘The Inextinguishable,’ a title that hints at the primal will to live, a force only fully expressed through the music itself. Premiered a few weeks after its completion, ‘The Inextinguishable’ was hailed as a monumental masterpiece that reached great heights, a critical acclaim that remains valid, affirming the enduring impact and relevance of Nielsen’s magnum opus.