Gramophone's 2013 Recordings of the Year

29 posts / 0 new
Last post
Gramophone's 2013 Recordings of the Year

I note the following article, but no place as yet for the discussion! I thought I would step up and create a topic :-)

As the voting process gets underway for the 2013 Gramophone
Awards, we've put together an interactive timeline featuring those
recordings that have received the greatest accolade in classical music –
the Gramophone Recording of the Year Award – since the
inaugural Awards in 1977. Who will win the 2013 Recording of the Year
Award? You will have to wait until September to find out, but in the
meantime, let us know which recording you think should win at the Gramophone Forum.

RE: Gramophone's 2013 Recordings of the Year

I am going to nominate as my choice for recording of the year, Deep Blue by Ian Clarke. To hear samples, please take a look at the following link:

http://www.ianclarke.net/

There are a number of reasons for my choice.

I think we classical music fans needs to be forward looking, seeking to identify great new artists and composers, and to recognise and nurture them.

In my view, this album achieved a phenomenal feat a few weeks ago. It entered the official classical music chart at number 8. If it had been allowed into the specialist classical musical chart it would have entered at number 1.

If it had been supported by the industry and given radio plays, it may well have still been there.

Breaking into the chart in this way is amazing for a British artist who has published the album themself, for an artist who has composed the entire album themself, and performed the album themself.

I would hope that if the readers of Gramophone wish to see classical music thrive, they should go out and get the first and second albums by Ian Clarke, and listen to them, and understand why the nation's flute players have stood behind this artist and propelled him into the chart by buying his album.

This is a man who as a composer, is writing the music all young flute players wish to be performing.

This is a man who as a performer, is playing innovative, melodic, complex and dazzling music to a level which motivates all players to wish to emulate him.

In short I cannot understand why he is not approaching the level of fame we accord to Emmanuel Pahud, or to James Galway. I believe the classical music industry need to publicise this artist's performances, his recordings, his compositions, and so our public take him to their hearts.

I believe Ian Clarke's music is sufficiently exciting that with a following wind, it could easily cross over into the mainstream, break out of the classical charts, and into the pop charts, as James Galway did when he inspired me to take up the flute.

Emmanuel Pahud, principal flute of the Berliner Philharmoniker has said of this recording: "You create new fields of sound and music making on the flute, always expressive and virtuosic ... that takes us beyond anything we've heard before."

Surely if Emmanuel Pahud of the 2013 Gramophone Hall of Fame is saying this, it is time for Gramophone readers to sit and take notice of this artist.

And for anyone stuffily sniffing at this point (I can imagine there may be few who think I am impertinent to suggest something so contemporary), Ian Clarke is certainly a credible artist for the most dyed in the wool classical fan, being a professor of flute at the Guildhall School of Music and Drama.

I think classical music forums, radio stations, commentators, and reviewers should take note of and support British talent when it emerges. It has emerged, and it deserves our recognition.

(OK, I feel like I have just given an Oscar award speech - I hope you can tell it is a heartfelt recommendation, please go and give Ian Clarke's albums Within and this year's Deep Blue a listen, enjoy them, and marvel at his use of extended techniques)

RE: Gramophone's 2013 Recordings of the Year

Reported for spam.

RE: Gramophone's 2013 Recordings of the Year

Gramophone magazine in a front of web page article asks us to share our views on what should be the recording of the year on the forum. As requested, I have shared mine, and provided a forum topic under which others can do the same, as I could not find a specific discussion topic under which to comment - I did look!

Was there some spam kitchen post under my own earlier 50milliarden, or are you having a pop at my post? If so, why not instead be pleasant and share your own view on what you think should be the recording of the year, I would be interested to hear it. Indeed, I would be interested to hear everyone's views, surely that is the point!

I would be very interested to get an appreciation of some new and interesting recordings, and hear why people feel their choice is the best candidate

Isn't that why we are all here?

Or are people just here to get irritated with each other, which seems to be what half the conversations seem to revolve around, which is a great pity.

Lets move on, and see some other interesting suggestions from posters who actually wish to talk about music, eh?

RE: Gramophone's 2013 Recordings of the Year

Welcome to the forum FluteFan. By all means
please share your enthusiasms with us. One of the great things about this forum
is that you can discover wonderful new music from other posters, but I think
you are laying your particular enthusiasm for one disc and artist on a bit
thick, and it is not hard to see why others may see it as advertising.

I have listened to the samples available
from your link, and I have to say I don´t like it at all. Too middle of the
road for me, and I can imagine an hour of it would be very grating on the ears.
If you like contemporary flute music, you must hear  ..explosante fixe… by Pierre Boulez on
Deutsche Grammophon, fantastic stuff, or the first of Berio´s Sequenze.

I don´t like saying one disc is better than
any other, but just to contribute to the topic, one disc that I certainly think
deserves to be included for consideration is the latest recording of music by
the recently deceased Henri Dutilleux. It is on DG and is called
Correspondances. The works, recording and performances are all excellent,
Barbara Hannigan I think is a wonderful artist.

RE: Gramophone's 2013 Recordings of the Year

I know exactly where you are coming from
Jane. I was trying to be as kind as I could. The most positive thing I can say
about this music is that he is clearly a very capable musician.  If he doesn´t want to be in the new age
category, the titles of the pieces certainly don´t do him any favours. Another
point for me is that I have always found pictures of the artists on CDs or LPs
very off-putting.

It sounds to me like the kind of stuff that
people who say they like to listen to music to switch off might like. I have
always found this attitude a tad insulting to music. If a composer, or any
artist for that matter, goes to the trouble of creating something worthwhile, you
can be pretty sure that he or she has invested a lot of time, concentration,
intellectual and psychological effort in its realisation. For these reasons I
think there is an onus on listeners to make at least a minimal expenditure of
the same forces before they can pass judgement on a piece. It´s like when
people dismiss a book because they say it is too difficult, my response is, do
you think it was easy to write? Why should music or any art be easily
accessible when the very things it is trying to reflect, the human condition,
the world today, the emotional minefield that is the life of any individual etc.
is far from easy to comprehend. I suppose for me, this is what separates art
from entertainment, but that´s another very murky boundary.

RE: Gramophone's 2013 Recordings of the Year

I´m in exactly the same quandary Chris.

Replying to Chris Janet & Dubrob

Hi,
Thanks for getting engaged and adding your own suggestions. I am interested to read them, and will take the time to track some of them down for myself.

And no, I am not offended in the least by your opinions, I am interested to hear them, and those of others on all aspects of music. If we all had the same delights and demands of music we would still all be whistling on the worlds oldest known musical instrument - funnily enough a bone flute! (it probably sounded a little like 'world music' too, so there is a heritage for flute players to be proud of!)

While I love flute music, I am glad we have a variety of instruments and musical styles out there to appreciate, as I like so many of them!

Replying to dubrob re contemporary flute music
Quote:

If you like contemporary flute music, you must hear ..explosante fixe… by Pierre Boulez on
Deutsche Grammophon, fantastic stuff, or the first of Berio´s Sequenze

Hi Dubrob,

Thanks for the recommendations on contemporary flute works. Yes, I am aware of both of these.
The Boulez is lovely, I find it interesting and enjoyable to listen to (depending on the performance). It reminds me of the Rite of Spring (which I also love), which is not surprising as I think it was meant to have been written in memory of Stravinsky. The Clarke speaks to me in a different way, I would happily reach for the music and play it myself to as a treat to myself as I enjoy it, The Boulez needing 2 flutes electronics and an orchestra is not quite so accessible to the average player...

The Berio Sequenze is OK, but for me it is very bitty, it doesnt flow, it doesnt have a lyrical feel, and just seems spiky for the sake of it. I dont have any strong feelings against it, but I do not warm to it either. OK, it gets a little more lyrical as you get into the piece, but its hardly relaxing.

Berio was written in the late 50's, and the Boulez in the early 70's. There are plenty of other contemporary works for flute I do like, and plenty of other composers, the only reason why I was discussing Clarke particularly is because it is recently released.

For example, back a little earlier than the Berio, I like Messaien's Le Merle Noir.

From more recent years I like pieces like the Liebermann flute concerto for example.

There are so many wonderful things happening in the world of flutes in the last couple of decades. For example the addition of other members of the flute family.

http://www.youtube.com/watch?v=LLtcCmllzok

and innovative headjoints:
http://www.youtube.com/watch?v=IVP5ffxX5Kg

And yes, re Dutilleux I looked up a clip of that performance on youtube, it sounds wonderful.

http://www.youtube.com/watch?v=4aBB1Oz0fGw

I also like Dutilleux's work for flute, eg the Sonatine, which can be found on youtube played by Pahud

RE: Gramophone's 2013 Recordings of the Year

Once more, I can go along with 50m as well as Jane and dubrob as for their comments about this kind of "whatever music".

I just wonder, out of curiosity, how Gramophone may chose this "Deep Blue" thing as the "recording of the year", if the esteemed magazine has not even reviewed it (unless I missed or overlook it).

Chris, as far as I understand the policy for the "recording of the year", as the word clearly implies, it has to be a new, original recording, recorded and produced within the year under consideration. Therefore, the Boulez box might get another "award" for production achievement, but not for the "recording of the year".

RE: Re: Parla

As far as I understand it, Flutefan, the "classical chart" is a kind of umbrella catch all for any music that isn't jazz or straight pop music. The fact that an album is on it doesn't mean that it actually contains any classical music. Far from it, in fact. On the whole, it is dominated by cross-over trash (pop ballads with orchestral accompaniment, musical songs, theme songs from films etc - see Katherine Jenkins etc) and Viennese kitsch. This junk outsells the "real classical" music by such a margin that it was decided to start a new chart for music that really was classical - so it wouldn't be swamped out of public recognition altogether. This is called The Specialist Classical Music Chart. Deep Blue, as you know, was not eligible for this chart. Why? I don't know. Probably because Deep Blue isn't actually classical music.

As such, it obviously wouldn't be eligible for a Gramophone Award and wouldn't be eligible for a review by this magazine.

Pages

Log in or register to post comments

Gramophone Subscriptions

From£67/year

Gramophone Print

Gramophone Print

no Digital Edition
no Digital Archive
no Reviews Database
no Events & Offers
From£67/year
Subscribe
From£67/year

Gramophone Reviews

Gramophone Reviews

no Print Edition
no Digital Edition
no Digital Archive
no Events & Offers
From£67/year
Subscribe
From£67/year

Gramophone Digital Edition

Gramophone Digital Edition

no Print Edition
no Reviews Database
no Events & Offers
From£67/year
Subscribe

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.

© MA Business and Leisure Ltd. 2019