2024 has been a flat yr for main labels and an unsettled one for minors. 4 impartial outfits bought out — Hyperion to Common, Bis to Apple, Chandos to Klaus Heymann, Divine Artwork to Rosebrook — the largest shakeout in many years, leaving us questioning how a lot of their cussed individuality may survive within the decade forward.
In selecting the album of the yr, I search for tasks that outline the period and can cross the take a look at of time. Janine Jansens’ recording of the Sibelius and first Prokofiev concertos on Decca is one which bears comparability with the legends. Yundi Li’s Mozart piano music on Warner is one other — a singular and unrepeatable set of interpretations.
The Klaus Tennstedt off-air concert events from Doremi are indispensable to conductor groupies. Semyon Bychkov’s Dvorak seventh and eighth symphonies with the Czech Philharmonic are natural and on no account vegetarian. Mark Elder’s farewell accounts in Manchester of each Elgar symphonies on the Halle’s personal label is likewise epochal.
However, the discharge that stands out for me as album of the yr is the violinist Gidon Kremer performing the music of his lifetime on an ECM album referred to as Songs of Destiny. Kremer, 76, mixes Baltic composers with the Polish-Soviet Mieczyslaw Weinberg, bridging reminiscences of Soviet thought-control and rustlings of independence beside a frozen sea.
I wrote of Songs of Destiny in February 2024: Kremer’s dedication to taking part in the violin at an age when most colleagues have lengthy turned to conducting reveals how carefully he regards the instrument as his private voice. Down the many years, his tone has mellowed from Moscow-tooled precisionism to a spherical, all-embracing heat. This austere and uplifting report is imbued with humanity and idealism. I don’t assume I’ve ever advocate a brand new report as important. This one is.
Oh sure, it’s.
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