Leif Ove Andsnes is a leading pianist of his time, known for his exceptional musicianship and subtil touch, his considerable technical flair being unfailingly put at the service of his interpretations. He was a pioneer for being the first home-trained superstar pianist to have emerged from Norway. This box is the story of a 20-year partnership that has yielded a rich seam of recorded treasures, first for Virgin and then for EMI. Running through this cornucopia of 34 albums (36 CDs), we find recurring themes: Grieg (Andsnes even recorded some Lyric Pieces on the composer's own piano at Troldhaugen), Nordic music in general, Schumann, Rachmaninov, Schubert.

Rubinstein Collection, Vol. 13: Grieg: Piano Concerto, Balla

Classical Music

Born and raised in Foggia, Italy, Antonio Pompa-Baldi first came to the U.S. in 1999 to participate in the Cleveland International Piano Competition. He won the First Prize, and embarked on a career that continues to extend across five continents. A top prize winner at the 1998 Marguerite Long-Jacques Thibaud Competition of Paris, France, Antonio Pompa-Baldi also won a silver medal at the 2001 Van Cliburn International Piano Competition, as well as the Award for the Best Performance of a New Work. - Pompa-Baldi.com

Antonio Pompa-Baldi continues his series of recordings for Centaur devoted to the music of Edvard Grieg with the ever popular Piano Concerto.

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

Silhuettes

Famous Classics, Volume 3

The year 2005 marked the bicentennial anniversary of Hans Christian Andersen's birth, whose's writing has been the treasury of the world. Internationally renowned tenor Poul Elming compiled an album of Lieder by great composers inspired Andersen's poetry.

10 months after the highly successful debut CD (KPT 32185 “Prokofiev:Violin Sonatas and Five Melodies”) Armenia’s prodigious young talent Nikolai Madojan visited Denmark again to record Grieg’s sonatas with veteran Elisabeth Westenholz. The Gramophone wrote on Madojan/Westenholz duo’s “Prokofiev” recording in comparison with the Perlman/Ashkenazy recording, “Nikolai ... has a natural feeling...his is the more thought-provoking...Westenholz refreshingly tender-hearted and imaginative. ..Kontrapunkt’s CD is a good one and will not disappoint those who are attracted by the programme...”

BERLITZ PASSPORT - THE MUSIC O

Import Hybrid-SACD pressing.

Includes work(s) for piano by Edvard Grieg. Soloist: Gerhard Oppitz.

GRIEG: HISTORIC CHAMBER MUSIC

The WDR Sinfonie Orchester and the Norwegian conductor Eivind Aadland continue their survey of Edvard Grieg's orchestral works with this selection from the composer's orchestral repertoire which he liked to conduct across Europe.

This much awaited recording offers keenly idiomatic performances of the most famous works by Grieg, played by the composer’s own orchestra, the Bergen Philharmonic, and its Chief Conductor, Edward Gardner. The drama and passion of such favourite pieces as the incidental music to Peer Gynt and the Piano Concerto are superbly captured in surround-sound with exemplary Chandos sound quality. Unlike most existing recordings, offering only the orchestral suites, this disc presents numerous extra excerpts from Peer Gynt, which follow the sequence of Henrik Ibsen‘s dramatic poem, including sections for the unique Norwegian 'Hardanger Fiddle’. Having collaborated with the orchestra on several occasions, Jean-Efflam Bavouzet is the soloist in the Piano Concerto, a piece that stands out as a shining example of a single great thought captured and expressed in music. The power of this conception is evident throughout the concerto in the pianist’s faithful, yet highly romantic interpretation.

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REVIEW:

In the Piano Concerto, Gardner brings to the table flair, drive, and an almost Tchaikovskian lushness to the string sound, which matches well Bavouzet's commanding manner in the piano's opening flourish. Bavouzet bewitches in the slow movement, not just in the clarity of his lines but also in the sense of ebb and flow. He fully claims his status as a supreme virtuoso in the work's finale.

– Gramophone

Classical Music

Young Russian piano virtuoso Miroslav Kultyshev follows up his earlier Orfeo recording of Liszt's �tudes d'execution transcendante with Grieg's a minor Piano Concerto op. 16 a work with which the Norwegian composer took an important first step on the musical stage of his time.

Edvard Grieg: Symphonic Works Vol. I present two of the composer’s principal collections on 180g vinyl LP: the first Peer Gynt Suite, Op. 46 and his four Symphonic Dances, Op. 64. Eivind Aadland's roots in the tradition of Norwegian folk music influence his interpretations. Grieg's connections with Germany stretched from his Leipzig studies to his numerous concert performances and extraordinary circulation of his works there. This recording, with the WDR Symphony Orchestra Köln, represents on several levels a German-Norwegian synthesis already in existence during Grieg's lifetime.

Classical Music

Franziska Pietsch and Detlev Eisinger make their audite debut with the three sonatas for violin and piano by the great 19th c. Romanticist Edvard Grieg, who himself rated these three sonatas as amongst his best works. Violinist Franziska Pietsch gave her debut at the Komische Oper Berlin aged eleven, after which she regularly performed as a soloist in the GDR until leaving East Germany in 1986, enabling her to pursue a career in the West. Pianist Detlev Eisinger gave his first piano recital at age thirteen, his busy international career now almost three decades long.

Chandos releases a new compilation of orchestral works by Grieg on its mid-price 'Classics' label. The disc contains some of Grieg's most popular works. Recorded in: Ulster Hall, Belfast 29-31 August (Suite No. 1), 19 & 20 August 1989 (other works) Producer(s) Brian Couzens (Suite No. 1) Tim Oldham (other works) Sound Engineer(s) Ralph Couzens Philip Couzens (Suite No. 1) Richard Lee (other works)

Air: Michala Petri / Lars Hannibal

This disc includes both ADD and DDD recordings.

Classical Music

Classical Music

Import Hybrid-SACD pressing.

The English translation excellently acted gives this fiery Peer new appeal.

Based on concerts the Suisse Romande Orchestra gave in Geneva and Lausanne, Guillaume Tourniaire's performance of the Benestad/Andersen critical edition of the score (essentially the 26 numbers given at the play's 1876 premiere) first appeared in 2005 (A/05). In my Gramophone Collection piece on Peer Gynt in November of that year I would have hailed it unreservedly as the best complete version of Grieg's theatre music had the dialogue and melodramas not been spoken in French. Now those spoken passages have been rendered into English, in a translation by Stephen Taylor which resonates without either period whimsy or banal updating.

The linking narrations and filleting of the play by Main Perroux have been made with sharp knowledge of the Ibsen drama and of what works in concert and on disc. The national characteristics of the actors intriguingly alter the feel of the piece. While Lambert Wilson and his French colleagues are more distanced, Brechtian and mysterious, the British trio immediately embrace a warmer, more comic naturalism. Alex Jennings's voice grows from rough Ulster into an assumed English RP as Peer travels the world; Derek Jacobi is a cunning mix of spooky and funny as the Boyg, here called the Great Obstacle, and no less effective in 10 other parts; Haydn Gwynne hops with enjoyable confidence across the age and sanity barriers from Peer's mother to his various girl friends.

Tourniaire has as much of an eye on the drama as the exceptional discs of excerpts under Beecham (EMI) and Masur (Philips). He has intuited and delivered a true Grieg style from his orchestra, alert, light, swift but not afraid to punch home the ironies (of the Trolls' various numbers) and the intentionally noisy stage effect climaxes (like the Act 5 shipwreck music). The two big melodramas ("Peer and the Obstacle" and "Night Scene") — perhaps the most compelling reasons for getting to know the complete score — find Grieg at his most progressive and inventive and Tourniaire paces them beautifully. Even his rits and rails in the tricky little vocal numbers of Peer's African sojourn in Act 4 come off to a tee.

With English-speaking listeners now as well catered for as French ones, Aeon should seriously consider a Norwegian version, even retaining Perroux's taut narrative material. The Ole Kristian Ruud/Bergen BIS Norwegian set (A105) is authentically self-recommending but it lacks the special fire and imagination of Tourniaire's.

-- Mike Ashman, Gramophone [3/2007]

The programme on this first disc in the cycle includes both old favourites - the piano concerto - and less known works. (The Symphony was actually left unperformed for more than 100 years, from 1867 to 1980). Recorded with the new DSD (Direct Stream Digital) technology, these interpretations are available on SACD and in Surround Sound - a first for this the most recorded (?) of piano concertos. The presence of the piano and the weight of the orchestra as well as the sense of spaciousness are truly extraordinary. One gains entirely new insights into just how the piano soloist - Noriko Ogawa - sculpts those famous melodies; and just how dazzlingly spectacular her finger work is in the rapid runs!

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

This is an, err… enchanting disc of Grieg’s choral music – both original and arranged for choir. The opening, resonant, full bodied choral arrangement of the popular “At Rondane”, op.33, No.2 (originally for voice and piano) is plain gorgeous in its moody way. Two religious songs were prepared for mixed choir by Grieg himself of which “Withered, Fallen – At the Bier of a Young Wife” sounds a bit predictable, but touching in its cathedral-like piety. In this song, as in “Ave, Maris Stella” or indeed most of the other works on this glorious sounding (multi-channel/stereo) hybrid SACD, the non-Norwegian ear will always pick up a certain preciousness, that silver-voiced, Christmas-choir touch with scents and touches of mulled wine, snow boots, and blond locks under a woolen hat.

“Margaret’s Cradle Song” op.15, No.1, a short gem some 90 seconds long, was written in appreciation of the birth of his daughter Alexandra in 1868. It is set to the Ibsen poem of the same name and hauntingly beautiful. Alexandra, however, never got to appreciate her song; she died shortly after it was written. (Which is tragic and yet, given that it was set to something by Ibsen, also so terribly appropriate.)

Grete Pedersen, who conducts the Norwegian Soloists’ Choir also sets the first of the Lyric Pieces op.71 “Det var engang” for mixed choir. It might be the only miscalculation in that the result sounds nice and pleasant but also — in its dum-de-dum new-agey way — cheap.

Norway was already an independent nation when Grieg composed the 1907 Four Psalms op.74, his last work. It’s a somber end to his musical output – with “Jesus Christ is Risen” being an especially austere, if moving, setting of this Hans Adolf Brorson text. The four psalm settings are based on a collection of Norwegian “newer and older mountain tunes” that Grieg wanted to help preserve with his musical adoption. He has achieved that all over again by having them included in this very fine reminder that Grieg is so much more than the Grieg of a certain mountain king’s hall, or of lyric pieces, or a piano concerto.

-- Jens F. Laurson, WETA 90.9