Gramophone considered Oleg Marshev's first album of Prokofiev on Danacord (DACOCD391) as featuring 'one of the most authoritative and impassioned performances [of the First Sonata] on disc so far'. His interpretation of the 'War' Sonata trilogy was awarded a 'Classic CD Choice' and compared with pillars of the gramophone such as Richter, Berman, and Ashkenazy. Born in Baku, Azerbaijan, Oleg Marshev trained with Valentina Aristova at the Gnessin State Musical College and with Mikhail Voskresensky at the Moscow Conservatoire. He is numbered among the fifth generation of Russian pianism since Liszt, through the lineage of Alexander Siloti, Konstantin Igumnov, and Voskresensky's teacher, Lev Oborin. Resident in Italy since 1991, Marshev received awards in several international piano competitions in Canada, Italy, Portugal, Spain, and the USA, including four first prizes. He is now widely acknowledged as one of the most talented Russian pianists of his generation.

The final volume in the historically important collection of rare recordings with the Danish versatile conductor Launy Gr�ndahl features the opera The Black Spider, an unknown masterpiece by the Swiss conductor Heinrich Sutermeister. In addition to never-before-released broadcast recordings, this volume collects the very first 78RPM recordings made by Gr�ndahl with his Olympia Orchestra in 1923. All previous volumes, from Volume 1 to this final release, are available.

Nancy Dalberg's (1881 - 1949) songs were written in the period from 1909 to the beginning of the 1930s, and through her choice of lyrics she tells a lot about herself and her life. She grew up in a prosperous entrepreneurial environment, and early on she developed skills as a pianist. In 1901 she married First Lieutenant Erik Dalberg, who also had a significant artistic vein, and a few songs were thus written together. Due to an arm disease, however, she had to give up becoming a concert pianist, and with Johan Svendsen and especially Carl Nielsen as teachers, she acquired from 1909 on the compositional skills that, in addition to the songs and other smaller works, led to her string quartets and orchestral works, thus three of her songs are also available in an orchestral version. With the very personal choice of 47 mainly Danish poems, her songs take up a considerable amount of space, and she provoked her contemporaries with a sometimes quite rich piano accompaniment, whereby the soloist and pianist became more equal in the performance. The lyrics range widely from the cheerful to several more serious lyrics that revolve around the family and marital dreams that remained unfulfilled due to her lifelong health challenges and her husband's increasing mental illness, of the present selection, 9 songs have not previously been recorded.

While no pianist himself, Nielsen wrote for the instrument throughout his career, and this recorded survey ranges from early and vividly detailed miniatures to adventurous explorations of rhythm and harmony in some of his boldest late works. According to the composer and Nielsen expert Robert Simpson, the pianist Arne Skjold Rasmussen was 'by far the greatest interpreter of Nielsen in any medium.' He made both broadcast and commercial recordings of Nielsen's piano music during the 1950s and 60s, but his 1960 survey had long been presumed lost. This new transfer of those sessions for the BBC is made from tapes of the original broadcast, in excellent sound for the period.

The final volume of this groundbreaking Thomas Jensen series encapsulates the series as a whole. New remasterings of rare studio recordings from the 1940s complement first-ever releases for live broadcasts from the 1950s and 60s. The repertoire demonstrates Jensen's excellence as a sympathetic concerto partner; an insightful interpreter of Sibelius; and a devoted advocate for the composers of his native Denmark

The famous Rarities of Piano Music from Husum: When Peter Froundjian conceived a festival devoted exclusively to unknown and rarely played piano music, some might have thought the idea too ambitious or even foolhardy. It proved to be a stroke of genius, and since 1987 the strong support of audiences from many countries has been consistent. It has kept it's intimate atmosphere, with a maximum of 130 listeners in the Rittersaal of Husum castle, and 40 more beyond an open door, with a TV screen to keep in touch. It's influence around the world has been considerable, with more ambitious concert programmes in evidence and record companies willing to take on a wider repertoire. This disc contains a particularly large number of short pieces by fourteen different composers. However, the producers have arranged them thoughtfully into groups and sequences which should make for a coherent listening experience. If these examples encourage listeners to seek out other examples of music by the composers, then they have surely served their purpose. As usual Peter Froundjian made the initial choice of music, with the agreement of the performers. His co-producer Jesper Buhl and the team at Danacord took care of the technicalside, including the final order of tracks and the maximum duration to suit most CD players - about 80 minutes these days. The recordings are all taken from live performances with no editing. If the very occasional "noises off" can be heard, they only serve to show how quiet and concentrated the Husum audie ces are most of the time.

Music is NOT that which sounds. Music is WHY that which sounds, sounds like it sounds - WHEN it sounds. The above quote by legendary Finnish conductor and larger-than-life composer Leif Segerstam neatly and - in typical Segerstam fashion - cryptically summarizes his philosophy on music, as wells as his unique approach to why music matters. It was felt by and intrigued anyone who was lucky enough to work with him, and it fuelled every aspect of his work in Aarhus, first as principal guest conductor (2018-21) and later honorary conductor (2021-22) for the Aarhus Symphony Orchestra. It is also evident in the recordings you have before you, the last ones made before his passing in October 2024. "This man has more music in his little finger than many conductors have in their whole body" is a popular quote by one of the orchestra's musicians, and it aptly describes the feelings of electricity and passion that ran through rehearsals with Leif. There is no doubt that music was everything - and in everything - of Segerstam's life.

It took C.F.E. Horneman almost 30 years to realise his vision of a Romantic opera based on the young hero from A Thousand and One Nights. Rich in fantastical character and orchestral colour, his score for Aladdin holds ready appeal which has rarely translated into performances. In 1953, Launy Grondahl led a first-rate cast of native Danish singers in this radio-friendly adaptation, which has been newly remastered from the original tapes. This is the penultimate release of the Launy Grondahl Legacy with the last volume 11 in preparation for an autumn 2025 release. All the previous volumes from Volume 1 to this present volume are available DACOCD 880 - 889

The Early Recordings Vol. 2 features a number of Langgaard pioneers who presented piano, organ and vocal works in the period 1963-1974. In 1970, Noe�l Lee recorded the first LP of piano music by Langgaard; it is reissued here for the first time on CD. Organist Jorgen Ernst Hansen can be heard on Langgaard's Ribe Cathedral organ (1970). In the 1960s, Royal Theatre soloist, Bonna Sondberg recorded several songs and major vocal works for Danmarks Radio, a selection of which are released here for the first time. The album contains examples of the wide range of expression in Langgaard's music from 1909 to 1951.

No one did more for Danish music in his lifetime than Launy Grondahl. In these radio recordings from the 1950s, he conducted unfamiliar works by the father of the classical tradition in Denmark, J.P.E. Hartmann. This music for the stage presents both the light and the serious sides of the 'Nordic tone' which inflected music in Denmark up to the time of Nielsen and beyond. The Nielsen influence emerges in two movements from the First Symphony by his pupil Poul Schierbeck, and then in a ceremonial cantata which was performed annually to mark Denmark's national day. Composed during the Nazi occupation of Denmark, the cantata by Jens Laurson Emborg belongs to it's dark time, and yet it also captures enduring characteristics of the Danish spirit.

Whether you know these sonatas well or are totally unfamiliar with them, you owe it to yourself to hear this set. Schubert playing like this is rare. In July/August I reviewed two recent Schubert discs by Stephen Hough and Malcolm Bilson. Both were well played and well recorded. But I now feel constrained to add that in spite of their many individual virtues as Schubert interpreters, they are light years removed from Damgaard. This set (with it's magisterial playing and even better sound) will surely be my Record of the Year". I am grateful to the editor for bringing it to my attention. If I can bring it to the attention of others, I will have done some good in the world." American Record Guide November/December 1999

The University of York is very fortunate to own this exquisite 1856 Erard London concert grand piano, lovingly restored by Nigel Scaife and tuned to the Bach-Lehman temperament by Aidan Delacey-Simms. The piano is straight strung allowing greater separation of registers compared to it's more homogenised modern counterpart. The strings are damped from below, rather than above as in a modern piano, a less efficient design that results in pleasing result is a wash of colour and a ring of complex overtones that was surely an aesthetic choice. Pianos were likely not tuned in equal temperament in the mid-19th century and my choice of unequal temperament brings extra resonance to the instrument as well as colour to the music. Daniel Grimwood is best known as a world-leading exponent of 19th century virtuosic piano repertoire. Received with critical acclaim, Grimwood's recordings and performances of the music of Adolph von Henselt ensure his international reputation as a groundbreaking, inspirational musician, making him out as a unique voice amongst his generation of pianists. His recording of Henselt's Complete Etudes garnered "instant classic status" by Gramophone Magazine, which also named it piano release of 2023.

Volume 6 of the complete piano music by the leading Danish Romantic composer Hartmann. He was born 1805 and lived nearly to be 100 years. During his time he was the most influential composer in Denmark and wrote beautiful music for solo piano. Here Danish pianist Thomas Trondhjem has reached the sixth volume in this enterprising series.

Classical Music

PIANOCRAZY

Etsuko Hirose is an extraordinary sensitive and very brilliant young musician. She is an outstanding pianist. Her virtuosity is really exceptional. - Martha Argerich First complete release of the early DENON recordings of Etsuko Hirose from 2003-2007. Produced for the domestic market, now available worldwide.

Gramophone considered Oleg Marshev's first album of Prokofiev on Danacord (DACOCD391) as featuring 'one of the most authoritative and impassioned performances [of the First Sonata] on disc so far'. His interpretation of the 'War' Sonata trilogy was awarded a 'Classic CD Choice' and compared with pillars of the gramophone such as Richter, Berman and Ashkenazy. Born in Baku, Azerbaijan, Oleg Marshev trained with Valentina Aristova at the Gnessin State Musical College and with Mikhail Voskresensky at the Moscow Conservatoire. He is numbered among the fifth generation of Russian pianism since Liszt, through he lineage of Alexander Siloti, Konstantin Igumnov and Voskresensky's teacher, Lev Oborin. Resident in Italy since 1991, Marshev received awards in several international piano competitions in Canada, Italy, Portugal, Spain, USA, including four first prizes. He is now widely acknowledged as one of the most talented Russian pianists of his generation.

The Italian composer and pianist Mario Tarenghi (1870 - 1938) is part of the great romantic music tradition of Lombardy, where the piano occupies a favoured place. At first glance, his piano roduction would seem to be characterised by collections consisting of short pieces with a strong melodic vein and a deliberately morose virtuosity intended for domestic use, sometimes almost pedagogical, rather than for large concert halls; for this reason, the few piano scores reissued in the present day are only included in a few anthologies for beginner pianists. Despite the publishing success of his music during his lifetime, Mario Tarenghi is still a little-known figure on the Italian and international music scene and, a hundred years later, even recordings of his music are still virtually non-existent.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music