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Peter Friis Johansson, Gothenburg Symphony Orchestra, Ryan Bancroft – Netzel, Sandström & Tarrodi: Piano Concertos (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:49 minutes | 1,27 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS
Passionate about the music of his own country, Peter Friis Johansson has commissioned new works as well as worked toward the unearthing of overlooked masterpieces of Swedish music. His latest disc presents the fruits of these efforts: one older, unfinished work with a completion by Johansson himself, the two others commissions made on his initiative. All three concertos were premièred between 2017 and 2020.
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Santtu-Matias Rouvali, Gothenburg Symphony Orchestra – Sibelius: Symphony No. 4 – The Wood Nymph – Valse Triste (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:26 minutes | 1,04 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
The Fourth is Sibelius’s most difficult symphony. For some, it is his masterpiece. When the symphony was premiered on 3 April 1911 in Helsinki, one critic compared it to Barkbröd – tree bark eaten by the Finns in times of famine! It is fittingly a Finn, conductor Santtu-Matias Rouvali, who explores this symphony that lays bare our emotions. With his Göteborg Symphony Orchestra, he continues his cycle of the complete Sibelius symphonies, with the addition of the famous Valse Triste and the symphonic poem inspired by Swedish folklore called The Wood Nymph.
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Gothenburg Symphony Orchestra – Eliasson: Symphonies Nos. 3 & 4 (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:16:50 minutes | 1,31 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS
Born into a working-class family, Anders Eliasson’s earliest musical experiences originated from within himself: ‘they were my own singing, and tunes I heard on the radio’. At the age of nine he began to play the trumpet, and soon after he became the leader of a jazz band for which he wrote arrangements. Aged 14, he found a local organist to teach him harmony and counterpoint, and at 16 he left his hometown for Stockholm to study privately.
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Kent Nagano, Gothenburg Symphony Orchestra – Mussorgsky: Boris Godunov (1869 Version) [Live] (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 02:05:15 minutes | 2,02 GB | Genre: Classical, Opera
Studio Masters, Official Digital Download | Front Cover | © BIS
In the 19th Century, Russian music was still dominated the Italian and French repertoires. But young composers were taking things in a new direction. In the face of westernisation, they were working to recreate an unbroken Russian thread, with folk melodies centre stage. In this vein, Modest Mussorgski created a synthesis of centuries-old Russian folk music and the musical language of Romanticism. His opera Boris Godunov exemplified this approach: every character has their own identifying theme, in the manner of the Wagnerian leitmotif, and the discourse exploits popular Russian idiom. The writing and the harmony have an impressive aloofness, which immediately stands out as Russian. The orchestration – and in particular the use of clocks in the second part of the prologue, or the coronation scene – corroborates this picture. Finally – and what is particularly salient in this version – is the vocality of this great score, which is eminently lyrical and follows the prosody of the language. The work’s choral character – Varlaam’s song at the tavern, for example, with choirs that chant the score – lends it a grandiose realism which never falls into the picturesque.
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Lars Danielsson & Gothenburg Symphony Orchestra – Lars Danielsson Symphonized (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:24:48 minutes | 1,53 GB | Genre: Classical, Jazz
Studio Masters, Official Digital Download | Front Cover | © ACT Music
Swedish bassist/cellist Lars Danielsson is a master improviser, who completely engages listeners by taking them on journeys of both pleasure and wonder, with themes which are always expressive and song-like. He is far too classy and refined a musician to indulge in superficial virtuosic display. Danielsson’s well-honed, naturally lyrical improvisational lines remain at the service of the flow of the music, something particularly noticeable when he steps forward and takes on the role of soloist. These core traits are also there in his extensive and much-praised work as arranger, composer and bandleader. With the group he leads, “Liberetto”, he has not only found a catchy name for the ideal band to realise his intentions, but also a formula for his approach: the word he has constructed contains “libretto”, a pointer towards the composed, quasi-classical nature of his writing, and also a link to opera and lyricism, whereas the Latin word “liber” refers to the freedom of improvisation, a core principle in jazz. And his unique talent is being increasingly recognized: the most recent Liberetto album from 2021, as Downbeat’s Brian Morton noted, “confirms Danielsson’s stature as a leader/composer”.
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Gothenburg Symphony Orchestra, Santtu-Matias Rouvali – Sibelius: Symphony No. 1 & En saga (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 58:42 minutes | 1,02 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
Alpha begins a complete cycle of the symphonies by Sibelius (and of his symphonic poems) with the Gothenburg Symphony Orchestra and its new musical director, Finnish conductor Santtu-Matias Rouvali. Originally a percussionist, the 33-year-old trained at the famous Sibelius Academy. His career took off after he stepped in at the last minute to conduct the Finnish Radio Symphony Orchestra. In the great tradition of Finnish conductors, Santtu-Matias Rouvali is known for his extremely physical and organic interpretations: ‘Music unmistakeably flows from him,’ commented The Sunday Times. When Bachtrack asked him how he shapes the orchestral sound, he replied: ‘I sing it, I move my hands the way I want it (…) the conductor should be able to show tempo somewhere in the body (…) I was also a drum kit player, so my feet and hands can do different things at the same time. When you read the score, you sing it in your head (…) I think it’s the sense of inside groove that you get from playing percussion which is very important in Sibelius’s music.’
In the Gothenburg Symphony Orchestra (GSO) he finds a prestigious cohort of musicians with an impressive discography, and joins a line of their illustrious musical directors, notably Neeme Järvi, the orchestra’s principal conductor from 1982 to 2004, but also Gustavo Dudamel – who made his first major recordings with the GSO – Christoph Eschenbach, Kent Nagano, and others.
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Gothenburg Symphony Orchestra & Thord Svedlund – Weinberg: Symphonies Nos. 1 & 7 (2010/2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:23 minutes | 1,17 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Chandos
Thord Svedlund has previously made three recordings of the orchestral music of Mieczyslaw Weinberg. First was his 1998 recording of the Polish-Russian modernist’s First and Fourth chamber symphonies issued first on Olympia and later on Alto, then his 1999 version of the Second Symphony and Second Chamber Symphony, likewise issued on Olympia and then Alto, then his 2005 recording of four of Weinberg’s concertos issued by Chandos. Now, Svedlund at last gets his crack at two full-fledged symphonies, No. 1 and No. 7, with the Gothenburg Symphony Orchestra on Chandos, and the results are stunning. Weinberg’s First has had only one previous recording, by Alexander Titov and the St. Petersburg State Academic Symphony, and while it is more than serviceable, it cannot compare with this account. Written in 1942 and dedicated to the Red Army, the First is the smoothest and by far the most sincere pastiche of Shostakovich and Prokofiev’s styles imaginable, and if it does not quite touch the depths of Shostakovich’s Seventh or Eighth, or Prokofiev’s Fifth or Sixth, it comes closer than any other Russian modernist symphony. The competition is tougher in the Seventh because its only other recorded performance was made by its dedicatee, Rudolf Barshai, and it is hard to top the gritty integrity of his 1967 recording. Conducting with rare sensitivity, Svedlund comes very close, with committed playing from the Gothenburg musicians. Chandos’ clear, colorful, and immediate sound beats the heck out of Barshai’s cold, gray Soviet-era sound. Fans of Shostakovich and Prokofiev owe it to themselves to try this disc.
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Avishai Cohen, Gothenburg Symphony Orchestra – Two Roses (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:28 minutes | 1,18 GB | Genre: Jazz
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © naïve
Many musicians dream of making a record with a symphony orchestra, but few can afford to make it a reality. Thanks to an extraordinary ability to compose melodies that take root in his listeners’ minds and because he has, for years, patiently performed these compositions on stage to the point where they are practically a part of him, Avishai Cohen was well-positioned to execute such an ambition. As Cohen himself notes, his songs seem predisposed to adaptation at an orchestral scale, and the fact that they retain the same intensity that has provoked such widespread admiration demonstrates the vigor of his music.
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Avishai Cohen, Gothenburg Symphony Orchestra – Two Roses (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:28 minutes | 1,18 GB | Genre: Jazz
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © naïve
Born in Israel in 1970 the bassist Avishai Cohen moved to New York in 1992, first making his name on the international jazz scene as a member of the late Chick Corea’s ‘New Trio’ and later of the pianist’s larger Origin group.
After leaving Corea’s employment he made his leadership début in 1997 and established his own Razdaz record label in 2003.
Cohen has always been more than a ‘just’ a bassist. An ambitious and prolific composer he doubles on piano and vocals and has always embraced a wide range of musical and cultural influences, including the folk music of the Jewish diaspora.
He also draws on jazz and on various aspects of Afro-Caribbean and Latin music, the latter encouraged by a spell with pianist Danilo Perez’s trio.
Cohen also has an interest in pop and rock and his output as a solo artist has been prolific and varied, ranging from conventional jazz ‘piano trio’ recordings to more song orientated material, such as “1970”, his ‘vocal’ album released in 2018 and named for the year of his birth.
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