Classical Music Vinyl 486 Items

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❝ J'aime écrire de la musique de chambre et des chorales, et particulièrement de la musique pour orchestres. Mais il n'est pas toujours simple de voir ces dernières jouées, l'orgue devient alors le meilleur moyen de donner au compositeur de vastes ressources ❞, écrivait Moondog en 1978 pour accompagner l’album Selected Works – confidentiel cousin américain de Moondog in Europe le premier disque enregistré en Allemagne.

Avec New Sound l’Ensemble Minisym fait le chemin inverse, emportant les pièces pour orgue(s) qui constituent l’album A New Sound of an Old Instrument (1979) – ainsi que des pièces composées en Europe durant cette même période – vers une instrumentation nouvelle et singulière. Le travail de l’Ensemble se base alors sur une grande connaissance de l’univers de Moondog qui a lui-même – et tout au long de sa vie – régulièrement donné de nouvelles couleurs à de mêmes compositions en changeant leurs instrumentations. Ce qui est d’ailleurs particulièrement manifeste au sein de l’album A New Sound of an Old Instrument dont la première face est constituée de pièces essentiellement composées aux milieu du tumulte des rues de New-York et marquée par une incroyable science du métissage (« Oasis », « Single Foot ») quand la seconde fait la part belle à de nouvelles compositions inspirées par ce sol européen que Moondog foule depuis peu et de manière désormais définitive (« Barn Dance », « Elf Dance », « Log in B »).
Empruntant des chemins de traverses les musiciens de Minisym déchiffrent par ailleurs des pièces jusque là inédites, parfois jamais jouées ni-même enregistrées par Moondog (« Logrundr in a », « Ground in d minor », « Marche Funèbre (Vercingétorix) », « Shneeflocken »).
Loin des académismes, c’est un monde que l’on rencontre ici, à l’ombre des instruments aussi rares que chers à Moondog. Ce disque, fruit d’un travail au long cours permet un souffle aussi fidèle qu’iconoclaste sur la musique d'un compositeur qui a passé sa vie entière à échafauder une oeuvre d'une naïveté toute particulière.

»In June 2017, I was due to perform in Moscow when I met Kirill Gilels, the grandson of the famous pianist Emil Gilels. He listened to what our Phoenix Mastering® restoration process, can achieve, and made the decision to entrust us with the results of several years of research: he gave us a list of dates and places of the previously unreleased recordings of his grandfather. In Berlin, Moscow and Saint Petersburg, we came across a treasure trove, stunning in terms of both the quality and consistency of Emil Gilels’s playing. We were fully aware that he was one of the greatest musicians of the twentieth century. It was in Amsterdam where at last, we succeeded in extracting this fabulous recital from 1976 at the Concertgebouw – recordings that had fallen into oblivion. We were allotted a studio where we listened to the tapes one by one, we did not utter a word, so overcome were we by the beauty of what we heard.« (F. D’Oria-Nicolas) Considered one of the most important pianists of the twentieth century, he was a pupil of H. Neuhaus. He wins the current Queen Elizabeth Competition in Brussels and takes on an international stature. In 1955, he was the first artist to be welcomed in the United States since the war: if the public, somewhat circumspect of Carnegie Hall, in New York, accompanies his entry on stage of a troubled silence, it is under a thunder of uninterrupted applause that he will refuse to leave the stage!

Piano Day 2021 sees Nils Frahm surprise the world with his Erased Tapes debut. Wait, what? How? Anyone who has seen the trail blazing sonic pioneer live will know Nils likes to deadpan a joke. Graz is in fact the first studio album he recorded for the label back in 2009, that somehow remained a secret… until now. Nils Frahm has quietly changed the musical landscape, reincarnating the centuries old figure of a pianist-composer for a new generation of music fans. As Nils’ word-of-mouth popularity grew and grew, so did the pop-culture profile of his instrument. He founded Piano Day with a team of like-minded friends in 2015 to help that process, some years releasing an album of piano recordings to celebrate one of humankind’s greatest inventions. Graz is one such record; an unheard snapshot of a young Nils recorded at Mumuth, the University of Music and Performing Arts Graz, in 2009 as part of the thesis Conversations for Piano and Room produced by Thomas Geiger, which received an award in the Classical Surround Recording category at the 127th AES Convention in New York. Whilst at the time it was decided to keep the grand piano recordings from the Graz sessions locked away and instead focus on his close mic’ed, dampened piano explorations which would become his acclaimed studio album Felt in 2011, two of the pieces — most notably Hammers — lived on as part of his live set, and were expanded on and re-recorded as part of his breakthrough 2013 record Spaces (a collage of field recordings from concerts which broke the Fourth Wall and included audience coughs). Over his mercurial career, Nils has pushed and pulled at the boundaries and parameters of his prolific work like that. He’s physically changed his piano (the softened prepared strings of Felt) played with a modified body (Screws recorded with 9 fingers and a broken thumb) played with scale (Solo recorded on the 3.7 metre high Klavins M370) and with the different layers of formats (last year’s Tripping with Nils Frahm nested his studio setup inside a live performance, concert film and live album). Now with Graz he has found the final frontier for play: time itself and his own discography. Graz is a moment of time at the very beginning of Nils’ quiet revolution. The essential genius is already evident; the harmonic language of classical, and the immediacy of jazz. Nils seems to pull down each idea moment by moment, gently, to not scare away the muse. He describes: “sometimes when you hear a piano, you might think it’s a conversation between a woman and a man. At the same time, it can hint at shapes of the universe and describe how a black hole looks. You can make

Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki.

The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you canhear on this release.