Your basket is empty

Categories :

Albums

From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 19 november 2021 | NMC Recordings

Hi-Res Booklet
Cevanne Horrocks-Hopayian’s multifaceted creative output ignores the boundaries between art forms and cultures. She writes for wide-ranging ensembles, acoustic and electronic, eastern and western – all of which is encapsulated in "Welcome Party", a new album for sinfonia, choir and electronics. A unique sense of place is at the core of Horrocks-Hopayian’s music. One particularly significant location to the album was 575 Wandsworth Road, London, the home of the late Kenyan-born polymath Khadambi Asalache, where Horrocks-Hopayian’s 2015-17 London Symphony Orchestra Soundhub residency took place. Much of the music on the album was inspired by the acoustic properties of the house itself (Cassete: Early Sketches), by the intricately carved wooden fretwork that covers every interior surface of this building (Inkwells), as well as by Asalache’s writings (Cave Painting). Objects and found sounds from the house were the impetus for tracks, including Walls & Ways for clarinet (Ausiàs Garrigós Morant), voice (Ziazan) and electronics, which opens with the recorded tick-tock of the grandfather clock in the hall. Composing The Ladies gave Horrocks-Hopayian a chance to engage with the humour throughout Asalache’s interior designs, including ankle-height bunnies painted for the household dog to chase and the eclectic paintings of women in the bathroom, ranging from Bessie Smith to Cleopatra, Pocahontas to Madame de Pompadour. Welcome Party is a joyous story of creative revival in a time of isolation as a result of the COVID-19 pandemic. The title track, featuring members of the London Symphony Orchestra and conductor Jon Hargreaves, is a loud, extroverted welcome to the album. Driving dance rhythms contrast with a deeply personal melody from the album’s closing track, Lullaby Between Two, sensitively brought to life by the Choir of Girton College, Cambridge (the composer’s alma mater) directed by Gareth Wilson. A touching tribute following a folk tradition of soothing songs, this lullaby was improvised by Horrocks-Hopayian whilst she waited for an ambulance to collect her Aunt, who tragically died after catching COVID-19. Vocal works are the vehicle of some of Horrocks-Hopayian’s most personal music, such as Ser (the Armenian word for ‘love’). Originally commissioned by Serious for the London Jazz Festival in 2015 to mark the centenary of the Armenian genocide, this is a modal exploration of the two sides of the composer’s Anglo-Armenian heritage. Multi-faceted in style as well as influence, Horrocks-Hopayian’s music breaks through genre barriers with ease. Muted Lines, initially written for saxophonist Trish Clowes’ album whilst Horrocks-Hopayian was in residence at 575, brings together the classical chamber ensemble, jazz group and an ancient Armenian text translated into English. Migration is another theme that runs through the album, and this work featuring Clowes, the composer’s vocals and Tim Giles on drumkit is a reflection on jazz in the context of travel and exile. Dancing Birds is a dance of migration in slow motion inspired Asalache’s by carved images of birds. Birds are also the protagonists of Swallows & Nightingales, text fragments by the Armenian author Gevork Dodokhian (swallow) and Sappho (nightingale). Whether inspired by specific locations or by more abstract places such as her ancestral home, Cevanne Horrocks-Hopayian’s music “both belongs somewhere and speaks to our human need for belonging” (Caroline Potter). © NMC Recordings
From
CD€ 9,99

Klassiek - Verschenen op 24 september 2021 | NMC Recordings

Booklet
As his earliest exposure to orchestral music, the playful, frenetic, visceral nature of cartoon soundtracks remains a prominent aspect of Ryan Latimer's work. The title "Antiarkie" is a tribute and commentary on this characterful music with the BBC Symphony Orchestra, led by Pierre-André Valade, equipping a clattering range of percussion to achieve the effect of "wild and irregular chaos". This child-like energy is ever-present in the piano and percussion duet Slink & Stride, commissioned and performed by Psappha. A selection of short tunes and motifs jostle and reanimate "often subtly entwining themselves or sometimes taking more striding leaps" (Ryan Latimer). Oliver Knussen and the Royal Academy of Music's new music group Manson Ensemble take on the intricate weaving gestures of Mills Mess. An amateur juggler himself, Ryan takes the piece's name and inspiration from the juggling pattern created by Steve Mills in the 1970s. The abrupt, twitchy changes of mood and rhythm convey the heightened precariousness as the spectacle becomes more flamboyant. Ryan turns to Herman Melville’s classic 1851 novel Moby Dick for his Crouch End Festival Chorus commission Frigates & Folly with the BBC Concert Orchestra and David Temple. This piece focuses on the ship's tragically optimistic Second Mate, Stubb, whose sarcastic quips and witty songs include a silly ditty making light of a looming typhoon, a surreal dream scene involving a badger-haired merman imparting important life lessons, a drinking song and a depiction of the steadfast sun amidst the chaos of the cosmos. The piece entitled Moby Dick draws upon the structural and stylistic traits of the novel as a whole, capturing the dramatically contrasting character types and unfolding narrative. It was composed for the London Sinfonietta as part of the "Next Wave" programme, established by NMC and Sound and Music. The song cycle Speaking of Letters and Dancing uses three short poems to explore the effect of distance and proximity in a personal relationship, brought to life by mezzo-soprano Rosie Middleton and Loki Ensemble with conductor Daniele Rosina. The first two movements use the texts of Polish poet and playwright Maria Pawlikowska-Jasnorzewska and explore the anticipation and anxiousness of receiving a long-awaited letter from a loved one with unexpectedly heart-breaking consequences, as well as the intimacy and joy of dancing with others. The collection concludes with Japanese poet Kobayashi Issa’s refined, compact poem Summer Night which depicts an evening so still that "even the stars, galaxies apart, might whisper intimately to each other" (Paul Conway). Constructing a "meta-ensemble" from the peculiar collection of instruments at his disposal, Divertimento, performed by Britten Sinfonia, plays with time-honoured genres with glimpses of baroque-inspired fantasias, modernist violin gestures, and deconstructed quotes from Mozart’s Oboe Quartet. © NMC Recordings
From
CD€ 9,99

Klassiek - Verschenen op 23 juli 2021 | NMC Recordings

Booklet
From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 28 mei 2021 | NMC Recordings

Hi-Res Booklet
For the first time, Param Vir's music comes together in an album solely dedicated to his works. “[His] music is resounding in my heart as messages of great inner wealth. It is like a new idea of beauty and grace and has all the strength and the energy of great art” (Hans Werner Henze). Param Vir freely draws from mythology, art and literature in his work. The title track of this release, Wheeling Past the Stars, sets the prose of Indian poet Rabindranath Tagore and in these four song settings, Patricia Auchterlonie (soprano) and Ulrich Heinen (cello) explore the themes of love, politics, nature, and the rejuvenating effect a child can have on their grandparents. The Austrian contemporary music specialists Klangforum Wien with Micha Hamel join forces with British Indian virtuoso sarod player Soumik Datta for the part notated, part improvised Raga Fields. It is not a work that imitates Indian music but instead "harnesses rich, contemporary harmonic techniques that facilitate the confluence between the two rich and diverse musical traditions" (Paul Conway). Through close collaboration with Param Vir over many months, Soumik brings his artistry, insight and imagination to the improvised sections creating an organic development to the music. Param turns to evocative imagery for the other works in this collection. Before Krishna takes inspiration from the images around the birth (and the unusual events preceding it) of Krishna, the most popular and loved of the Hindu gods. Utilising serial techniques, the "Krishna Row" twists and turns in the hands of the London Contemporary Orchestra and conductor Odaline de la Martinez, who draw out the expressive detail in Param's carefully crafted sequences. In Hayagriva, Vir chooses not to retell the story of the horse-headed incarnation of Vishnu but instead to explore the aspects of the character's supernatural powers. © NMC Recordings
From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 23 april 2021 | NMC Recordings

Hi-Res Booklet
With music that is "sleek, hot, earthy, and physical", Tansy Davies's first orchestral album, Nature, brings together four exuberant works from the last decade. In a piece which questions the very nature of a piano concerto, pianist Huw Watkins shows off the physicality of the piano in Nature, with it transforming into an "athletic figure, running fearlessly through dense forest at night, invoking spirits". Coupled with the Birmingham Contemporary Music Group led by Oliver Knussen, here is music that sets "the heart and mind in motion" (The Telegraph). Re-Greening hands-over control to the 164 teenage musicians of the National Youth Orchestra of Great Britain, who sing and play, create and shape the sound without a conductor's guiding hand. Commissioned by NYOGB, this celebration of youth and Spring loosely follows the Shamanic Wheel of the Year, an annual cycle consisting of the year’s most prominent solar events (solstices and equinoxes) and the midpoints between them. Distilled from Davies' Between Worlds ("a musically superb meditation on grief and transcendence", TimeOut), the suite What Did We See? weaves together material from the opera into four orchestral movements, becoming a "highly charged realisation of the poetic drama we created in response to the events of 9/11". (Tansy Davies). The Norweigan Radio Orchestra with Karen Kamensek also features in Davies's Dune of Footprints. Inspired by the Cave of Niaux in southwestern France, this piece searches out spaces in "tunnels of slowly shifting harmony" as Davies says, creating an organic ebb and flow. "Sudden cascades dive down into deep darkness, where flinty textures emerge from shadows, then forming small cells that push to resume the forward motion". (Tansy Davies) © NMC Recordings
From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 26 maart 2021 | NMC Recordings

Hi-Res Booklet
Entirely conceived and recorded independently in the 2020 lockdown by the musicians of "The House of Bedlam", "Enclosure" reflects on what it is to play together and play apart and celebrates the technical achievement of isolated musicians in challenging times. Larry Goves writes in the programme booklet liner notes: 'In April 2020, when I started putting together the music for "Enclosure", COVID-19 meant that everyone wanted to be together, and the circumstances were really conspiring against it. So, despite the fact that these recordings were all made (and more than half of the pieces written or arranged) during lockdown, with each player recording at home and sending to me for editing and mixing, the music has been written or chosen to reflect on what it is to play together and to play apart. This collection, therefore, includes music played in obsessive unison, played entirely independently, composed after the sounds were recorded, and in one case downplaying the importance of the instrumentalist entirely". Works by Larry Goves include Distant Airports and Music for Melody Instruments, Objects, and Electronic Sounds which strive for a virtual togetherness with unison melodies weaving their way through electronic clouds, and a new work inspired by the aggressive stabbing chords of a Siouxsie and the Banshees track. Larry's arrangements of Claudia Sessa's (ca. 1570-c.1619) Occhi io vissi di vol plays on the tension of playing together and playing apart with alternative takes of a saxophone superimposed on itself creating a duet and then wider ensemble, while his piece Nehemiah 2 grows out of an unrecognisably-distorted sample of blues legend Nehemiah Curtis ‘Skip’ James. Growing Block’s graphic score (by Sarah Hennies) invites the performer to explore listening in a particular space and time. 30-second blocks of music have the musicians “behave as though inside a snapshot of a moment in time if one could move around inside a moment without going forwards or backwards”. Matthew Sergeant’s piece Matters of Matter #4 celebrates the sounds objects or materials make for themselves with two branches bowing a violin’s open strings - creating a seductive, glitchy, AMSR-like music. With the performers collectively choosing (in advance) their own sounds and approaches to a renaissance melody, Amber Priestley's With Wholesome Hunger Plenty calls on the musicians to navigate graphically notated solos, to invite others to join in, or to choose to interrupt, and ultimately to race to the end. © NMC Recordings The House of Bedlam Larry Goves, director, composer, electronics Kathryn Williams, flutes Carl Raven, saxophones/clarinets Tom McKinney, guitars Stephanie Tress, cello
From
CD€ 9,99

Klassiek - Verschenen op 12 februari 2021 | NMC Recordings

Booklet
Born in Glasgow, Martin Suckling has been heralded as 'probably the most important figure in Scotland's music since James MacMillan' (Michael Tumelty, The Herald). His "Debut Disc" brings together four large-scale works recorded with BBC Orchestras and conductor Ilan Volkov. The title piece, This Departing Landscape, explores the idea of music as a physical space that we move through and slips away from us, with a kaleidoscope of sharp-edged fragments then unlocking the glacial energy of the second movement. "This was music that left me wanting to step inside my radio for full immersion" (Flora Willson, The Guardian). Release plays on the urge to clap or shout, sing and listen to the sound as it bounces around a large reverberant space. With the orchestra taking the role of both impudent child and cathedral, echos are distorted, captured, extended, and manipulated. The flute concerto The White Road (after Edmund de Waal) makes good on a promise by Suckling to flautist Katherine Bryan as teenagers together in the National Youth Orchestra of Great Britain. Finding inspiration in the ceramic art of Edmund de Waal, Suckling builds an orchestra of virtual flutes to accompany Bryan's singing melodic lines. "Fearless, dazzling, exceptional" (The Guardian) pianist Tamara Stefanovich sets the musical world in motion as the soloist in Suckling's Piano Concerto with music that spirals into more and more diverse regions through five exuberant movements. © NMC Recordings
From
HI-RES€ 14,99
CD€ 9,99

Koormuziek - Verschenen op 15 januari 2021 | NMC Recordings

Hi-Res
From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 23 oktober 2020 | NMC Recordings

Hi-Res Booklet
Irish composer Ed Bennett was born in Bangor, Co.Down. His music, which has been described in the press as "anarchic" (Irish Times), "stunningly intense" (The Quietus) and "thrilling" (Gramophone) is often characterized by its strong rhythmic energy, extreme contrasts and the combination of acoustic, electronic and multimedia elements; it was described in The Guardian as "unclassifiable, raw-nerve music of huge energy and imagination". This new album focuses on a number of Bennett's larger-scale works. In Freefalling – inspired by Felix Baumgartner's 2012 world-record freefall – the music plays on the sense of falling at high speed. The sound is propulsive and heaving, with hammering cymbals, drums, brass and strings. It's an exciting and intense ride! The title piece, Psychedelia, was premiered in 2017 by the RTÉ National Symphony Orchestra with Thomas Adès conducting. It builds slowly from a solo violin open E string, to a whole orchestra "losing itself in a sea of rotating pulses and patterns". Bennett's own ensemble Decibel perform Song of the Books for solo cello, electronics and amplified ensemble. It uses the Irish traditional air Amhrán na Leabhar as its basis, which laments the loss of a cherished collection of books belonging to poet Tomás Rua Ó Súilleabháin (1785-1848). Magnetic is a buzzing and fizzing 8-minute essay for bass clarinet and prepared piano, and closing the album is the bombastic Organ Grinder for midi organ and an ensemble of brass, wind, percussion, and electric and bass guitars. © NMC Recordings
From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 25 september 2020 | NMC Recordings

Hi-Res Booklet
Linda Buckley is an Irish composer who has written extensively for orchestra (BBC Symphony Orchestra, Dresdner Sinfoniker, RTÉ National Symphony Orchestra, Irish Chamber Orchestra), and has a particular interest in merging her classical training with the worlds of post punk, folk and ambient electronica. She is "one of the leading figures in the thriving Irish new music scene" (Christopher Fox, Tempo) with her work being described as "strange and beautiful" (Richard Dyer, Boston Globe), "fantastically brutal, reminiscent of the glitch music of acts such as Autechre" (Liam Cagney, Composing the Island) and "engaging with an area of experience that new music is generally shy of, which, simplified and reduced to a single word, I'd call ecstasy" (Bob Gilmore, Journal of Music). In Ó Íochtar Mara ("From Ocean's Floor"), the most substantial work on this album, Buckley combines sean nós (an Irish ‘old style’ of elaborately ornamented solo singing) with string quartet and electronic drones. Iarla Ó Lionáird is one of the finest contemporary exponents of sean nós and the song-cycle is based upon Gaelic love poetry of love and loss, some dating back to the seventh century. Discordia was commissioned by Joby Burgess for his Canna Sonora, an instrument assembled from tuned, vertical aluminium tubes that he strokes with rosin-impregnated gloves creating other-worldly sonorities. Also on the album is the shimmering, ethereal Exploding Stars for violin (Darragh Morgan) and electronics, Haza written for the ConTempo Quartet when Buckley was living in New York, the floating, glacial Fridur for piano (Isabelle O'Connell) and electronics, and the ambient, immersive Kyrie performed by the composer herself on vocals and electronics. © NMC Recordings
From
CD€ 9,99

Klassiek - Verschenen op 25 september 2020 | NMC Recordings

Booklet
Here, for the first time together, are four of Nicola LeFanu’s remarkable orchestral landscapes, written over a 45 year period. They are hidden and revelatory, imagined and remembered, liminal and arcadian, raw and sophisticated. Of all the works in her prolific output (including operas, music theatre, chamber works, songs) it is perhaps in these large-scale orchestral pieces that LeFanu’s exploratory spirit stands out the most, translating the language of each landscape she traverses into a unique sonic topography. "LeFanu is renowned for works of imaginative beauty, often drawing on diverse extra-musical prompts" (BBC Music Magazine). The Hidden Landscape was commissioned by the BBC and first performed at the BBC Proms, 7 August 1973. It is this live recording (digitally remastered) that opens the album. Listening to this piece, and the work that follows (Columbia Falls) is rather like looking at the overall shape and contour of a landscape towards a distant horizon. LeFanu is, in life as well as art, a traveller and never happier than when she is outdoors. ‘I am not an urban person’ she says, ‘I need to be outside, using ears and eyes’. The short orchestral piece Threnody was inspired by Brendan Kennelly’s The Trojan Women (his version of Euripides’ tragedy) which was to become the catalyst for LeFanu's much larger work, The Crimson Bird. The text is from the poem Siege by John Fuller and examines the bond between mother and son as it is tested within an environment of war and terror. LeFanu says : "It's an exploration of love, fear and death. Siege has a universal scope that speaks to human experience throughout time. Coverage from conflict zones under siege fill our TV screens every day". © NMC Recordings
From
CD€ 1,19

Afrika - Verschenen op 22 mei 2020 | NMC Recordings

Booklet
In this piece featuring African and Western instruments played side by side, and inspired by the royal court tradition of the griots dating back hundreds of years, Sona Jobarteh unfolds the ancient stories of Manding history. This piece integrates West African and European instrumental interpretation; instruments are paired together in likeness in a unique arrangement that explores and challenges the capabilities of the instruments from both traditions. This piece is part of PRS Foundation's New Music Biennial 2019. © NMC Recordings
From
CD€ 9,99

Kamermuziek - Verschenen op 24 april 2020 | NMC Recordings

Booklet
Rolf Hind’s work for percussion, gamelan and piano evokes the hike to an eponymous Bhutanese cliffside monastery. The piece is written for Javanese gamelan percussion orchestra, two prepared pianos and solo percussion including the canna sonora – a collection of nine-foot aluminium rods. This piece is part of PRS Foundation's New Music Biennial 2019. © NMC Recordings
From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 24 april 2020 | NMC Recordings

Hi-Res Booklet
The Philharmonia Composers’ Academy, presented in partnership with the Royal Philharmonic Society and allied to the Orchestra’s prestigious Music of Today contemporary music series, annually offers the opportunity for three talented emerging composers to write an original chamber work for a Philharmonia Ensemble. Their new works are premiered by an ensemble of Philharmonia musicians at a Music of Today concert at the Royal Festival Hall prior to a full Philharmonia Orchestra concert. In addition to this high-profi le performance, the composers are guided through the writing process by Music of Today Artistic Director Unsuk Chin, as well as benefitting from specially curated seminars, masterclasses, instrument exploration sessions and a ‘works in progress’ workshop. From 2017 a recording and release on the NMC Recordings label has been included, enabling the works to have an international platform via online stores and streaming platforms. Chia-Ying Lin's Intermezzo to the Minotaur was inspired by Picasso's artwork Le Minotaure (1928), the piece influenced by the human ambiguity of the minotaur - the divine and bestial. Alex Woolf's Octet draws on threetypes of musical energy: outlandish and explosive, muscular and powerful, and pulsing and propulsive, and Benjamin Ashby's I've been planning for an impromptu explores improvisation inspired by the composer's free-jazz heroes Evan Parker and Barry Guy. © NMC Recordings
From
HI-RES€ 14,99
CD€ 9,99

Kamermuziek - Verschenen op 13 maart 2020 | NMC Recordings

Hi-Res Booklet
Three influential and varied British composers across three generations have been paired with three leading British ensembles on this album of new chamber works, commissioned as part of The Radcliffe Trust's Tercentenary and recorded live at Wigmore Hall, London. Composer Anna Meredith is a composer, producer and performer of both acoustic and electronic music. Her sound is frequently described as ‘uncategorisable’ and ‘genre-defying’ and her music has been performed everywhere from the BBC Last Night of the Proms to rock and pop festivals. Tripotage Miniatures is, as the title suggests, about messing about with things (Anna says ‘jiggery pokery’ is her favourite translation of the French term). Sounds change and stutter and tonal colours drain and become murky. Instruments interrupt and sound like they are trying to trip one another up. Postludes by Colin Matthews is dedicated to his good friend, the composer Oliver Knussen, who died whilst the piece was being written in 2018. Matthews’ says he had Knussen’s Cantata for oboe quartet in his mind from the start, and this piece – written for oboe quartet plus string quartet - has a poignant, elegiac feel and the atmosphere of after-event with which the title accords. Alexander Goehr’s after 'The Waking' is named after a poem by Theodore Roethke, which the composer has previously set to music for two voices. This quintet, performed by the Nash Ensemble, is a fantasia in five movements on material that Goehr explains ‘wouldn’t let me go’ from the earlier work. © NMC Recordings
From
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 17 januari 2020 | NMC Recordings

Hi-Res Booklet
From
CD€ 9,99

Koormuziek - Verschenen op 17 januari 2020 | NMC Recordings

From
CD€ 6,99

Klassiek - Verschenen op 17 januari 2020 | NMC Recordings

Booklet
From
HI-RES€ 9,99
CD€ 6,99

Klassiek - Verschenen op 17 januari 2020 | NMC Recordings

Hi-Res Booklet
From
CD€ 1,19

Klassiek - Verschenen op 17 januari 2020 | NMC Recordings

Booklet