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DEUTSCHE GRAMMOPHON WINS SEVEN NOMINATIONS AT THE 62nd GRAMMY AWARDS


20 November 2019 – The nominations for the 62nd GRAMMY Awards were announced earlier today. The Grammy, which recognises both artistic and technical achievement, is the recording industry’s most prestigious award. This year, Deutsche Grammophon has received no fewer than seven nominations. Particularly significant is the wide range of categories in which this historic but innovative label has been recognised.

“My warmest congratulations to all our Grammy nominees! We’re thrilled to receive such an incredible number of nominations,” says Dr Clemens Trautmann, President Deutsche Grammophon. “The Yellow Label has long been known for the exceptional quality of its recordings, but what’s especially rewarding for us is to see such a diverse selection of our work nominated – from a piano recital to a full-scale audiovisual opera recording, from German Romantic repertoire to the US avant-garde, and from up-and-coming talent to legends of the music world, not to mention two nods for our film/television music productions. My sincerest thanks go to all our artists and of course to the entire DG team.”

The 62nd Annual Grammy Awards ceremony will take place on 26 January 2020 at the Staples Center in Los Angeles.

Best Score Soundtrack for Visual Media
CHERNOBYL
Hildur Guðnadóttir, composer

Best Arrangement, Instrumental or A Cappella
HEDWIG’S THEME
John Williams, arranger
Anne-Sophie Mutter, violin
John Williams

Best Orchestral Performance
NORMAN: SUSTAIN
Gustavo Dudamel, conductor
Los Angeles Philharmonic

WEINBERG: SYMPHONIES NOS. 2 & 21
Mirga Gražinytė-Tyla, conductor
City of Birmingham Symphony Orchestra
Kremerata Baltica

Best Opera Recording
WAGNER: LOHENGRIN
Christian Thielemann, conductor
Piotr Beczała, Anja Harteros, Tomasz Konieczny,
Waltraud Meier, Georg Zeppenfeld
Eckhard Glauche, producer
Festspielorchester Bayreuth
Festspielchor Bayreuth

Best Classical Instrumental Solo
THE BERLIN RECITAL
Yuja Wang, pianist

Best Contemporary Classical Composition
NORMAN: SUSTAIN
Gustavo Dudamel, conductor
Los Angeles Philharmonic





Oper auf Deutsch

This collection is a treasure trove for opera lovers and tells the astonishing story of an era when the central opera houses in the German-speaking world performed the standard repertoire from Bizet to Verdi in their local language only. These operatic highlights, sung in German, were all created via major studio productions of the 1960s. The cast is exceptional and capture an impressive standard of vocal artistry featuring the greatest voices of that time period such as Fritz Wunderlich, Dietrich Fischer-Dieskau, Brigitte Fassbender and many more. A box of 15 albums will be released 14 February 2020. We release four albums as download and streaming albums with the other eleven albums to follow on the 10 and 24 January and 7 February 2020 respectively.

Learn more about DG´s forthcoming box set 'Oper auf Deutsch' by watching the trailer.






DEUTSCHE GRAMMOPHON TO CELEBRATE BEETHOVEN’S 250TH ANNIVERSARY WITH NEW DIGITAL DESTINATION EXCLUSIVELY ON APPLE MUSIC

Specially curated “Beethoven Room” offers full access to the composer’s music including The New Complete Edition; fresh audio and audiovisual content to be added weekly

Available now only on Apple Music

Ahead of Beethoven’s 250th anniversary next year Apple Music, in collaboration with Deutsche Grammophon, are launching a newly curated “Beethoven Room” as the go-to digital destination where listeners will find every note of the composer’s work as well as brand-new releases.

Apple Music’s rich online resource will offer direct access to the Yellow Label’s flagship Beethoven edition, developed in an exclusive partnership with leading scholars at the Beethoven-Haus Bonn to stand as the most comprehensive and authoritative such collection ever assembled. In addition to historic landmarks from Deutsche Grammophon’s unrivalled Beethoven catalogue, recorded by some of the world’s greatest performers – from Abbado to Argerich, Bernstein to Brendel, Karajan to Kremer, Menuhin to Mutter and Perahia to Pollini – The New Complete Edition includes world premiere recordings of recently rediscovered works made by Daniel Hope and Lang Lang.

Apple Music will connect millions of fans all around the world with these beloved Beethoven recordings with exceptional sound, thanks to its new Apple Digital Masters format. Actively curated by Apple Music’s team of classical experts, the “Beethoven Room” will grow over the next 15 months to include artist-curated playlists and radio stations, video premieres and other exclusive material. It will also raise awareness of Deutsche Grammophon’s Beethoven 2020 motto, “Play on, play against all odds”, an evocation of the composer’s creative triumph over physical adversity.

Dr Clemens Trautmann, President Deutsche Grammophon, says of the collaboration: “It is fantastic to be working with Apple Music’s classical experts and dedicated curatorial team to give greater access to Beethoven’s music in outstanding audio quality. Bringing together world-class recordings in a specially designed digital environment offers music fans a new way to explore Beethoven’s creative genius in his anniversary year.”

Jonathan Gruber, Global Head of Classical at Apple Music sees the “Beethoven Room” as a landmark in digital access to classical music. “It is a pleasure to work alongside Daniel Hope, the Beethoven-Haus Bonn, and Deutsche Grammophon’s many great artists to bring Beethoven to the widest possible audience around the world. The ‘Beethoven Room’ is a wonderful way to celebrate one of the world’s greatest composers and with Apple Digital Masters fans are hearing the music at its best. With more and more classical music fans embracing streaming, Apple Music is quickly becoming THE place for people to find and enjoy the music they love, while enabling new audiences to discover and fall in love with classical for the first time.”

Daniel Hope, incoming President of the Beethoven-Haus Bonn in 2020, praises the “Beethoven Room” as the ideal destination for all things Beethoven. “Deutsche Grammophon’s extraordinary New Complete Edition of Ludwig van Beethoven’s works provides a much-needed focus on the creative output of a titan,” he observes. “It’s thrilling to think of the global reach that this new digital initiative on Apple Music will provide. To contribute recordings of recently-discovered and attributed works, in close collaboration with the outstanding research team of the Beethoven-Haus Bonn, has been both rewarding and humbling.”





GRAMOPHONE CLASSICAL MUSIC AWARDS 2019

Great news for the DG-artists Víkingur Ólafsson and Yuja Wang

The Icelandic pianist Víkingur Ólafsson was named Artist of the year at the 2019 GRAMOPHONE AWARDS. An additional honour for the critically-acclaimed pianist following Opus Klassik, BBC Music Magazine & Icelandic Music Awards. Deutsche Grammophon celebrates the pianist with a new deluxe edition of J. S. Bach – Works & Reworks alongside a brand new music video, which goes on general release on Oktober 23. Learn more about the award here 

Pianist Yuja Wang won this year's Award in the Instrumental category for 'The Berlin Recital'. To celebrate this success we release a previously unreleased track from her Berlin Recital Album. Learn more about the award here.



OPUS KLASSIK: UNIVERSAL MUSIC ARTISTS CELEBRATE HUGE SUCCESS AT CLASSICAL MUSIC'S BIGGEST NIGHT

Berlin, 14 October 2019 – Last night, the OPUS KLASSIK Awards, one of Germany’s most important awards ceremonies for classical musicians, took place at Konzerthaus Berlin. The list of winners included many artists signed to UNIVERSAL MUSIC‘s classical labels, Deutsche Grammophon, Decca and ECM Records. They received awards for a total of nine productions. The event was hosted by celebrity television presenter Thomas Gottschalk.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(from left to right- Frank Briegmann, CEO & President UNIVERSAL MUSIC Central Europe and Deutsche Grammophon; Andreas Ottensamer; Nadine Sierra; Lucie Horsch; Klaus-Florian Vogt; Clemens Trautmann, President Deutsche Grammophon)

 

The outstanding individual artistic achievements of the award winning musicians were at the centre of the ceremony. In addition, the awards also serve to reaffirm the innovative spirit of Deutsche Grammophon , Decca and ECM Records as well as the trusting relationships all three labels have with their artists. Soprano Nadine Sierra (Newcomer of the Year (Vocal)) secured another Newcomer award for Universal Music. Opera star Bryn Terfel (Classical Music without Borders) opened classical music to new audiences. Global star Lang Lang (Video of the Year) used his video to showcase the magic and the connecting element of classical music. Jörg Widmann (Composer of the Year) is one of the most versatile composers of his generation. Kim Kashkashian (Solo Recording/Viola) has contributed massively to the emancipation of the viola as a solo instrument and was recognised for her virtuosity. With Andreas Ottensamer (Instrumentalist/Clarinet), Vikingur Olafsson (Solo Recording/Piano) and Lucie Horsch (Concert Recording/Flute) completing the list, UNIVERSAL MUSIC artists once more demonstrated the remarkable diversity and vitality of classical music. The production Meistersinger von Nürnberg (Audio Visual Music Production) explores new creative territory in performance and interpretation.

 

Some of the musical highlights of the event were performances by Andreas Ottensamer with the Rondo from Carl Maria von Weber’s Clarinet Concerto No. 1 and Nadine Sierra with the piece “Somewhere” by Leonard Bernstein. The award for Audio Visual Music Production was accepted by Klaus-Florian Vogt.

 

OPUS KLASSIK is Germany’s most important classical music prize and it honours extraordinary classical musicians and recording. It is hosted by the Association for the Promotion of Classical Music, which represents labels, concert promoters, publishers and personalities from the classical music world. OPUS KLASSIK is a jury prize.

 

Bisseh Akamé, Head of Promotion & Label Communication Deutsche Grammophon:

 “Congratulations! All our winners have shown, once again, that classical music in all its varieties is a fascinating genre that touches and inspires people all over the world. I am particularly happy about the success of the OPUS KLASSIK award, which has established itself as a staple of the classical music year in a very short space of time. Our artists and the teams of Deutsche Grammophon, Decca and ECM Records have really earned this success. It is remarkable, that Deutsche Grammophon productions in both categories – short and long form – convinced the jury, which speaks to the innovative approach of our label.“

 

Frank Briegmann, CEO & President UNIVERSAL MUSIC Central Europe and Deutsche Grammophon: “Congratulations to all our award winners. New talent, innovation, new formats and, of course, the top categories – Deutsche Grammophon, Decca and ECM Records have been successful across the board, setting a shining example. The team of OPUS KLASSIK can be very proud of this event as can our media partner ZDF, who have done a magnificent job of setting the stage for the stars of classical music.“

 

Award winners:

 

Andreas Ottensamer

Instrumentalist (Clarinet)

“Blue Hour“

 

Bryn Terfel

Classical Music without Borders

“Dreams and Songs“

 

Jörg Widmann

Composer of the Year

“Arche“

 

Kim Kashkashian

Solo Recording/Viola

“J.S. Bach: Six Suites for Viola Solo (BWV 1007-1012)”

 

Lang Lang

Video of the Year

Lang Lang - Beethoven: Bagatelle No. 25 in A Minor, WoO 59 "Für Elise" – Piano Book

 

Lucie Horsch

Concert Recording of the Year /Flute

“Baroque Journey“

 

Nadine Sierra

Newcomer (Vocal)

“There's A Place For Us“

 

Vikingur Olafsson

Solo Recording / Piano

“Johann Sebastian Bach“

 

Volle/Vogt/Schwanewilms/Kränzl/Groissböck/Behle/Lehmkuhl

Audio Visual Music Production

“Meistersinger von Nürnberg“



GRAND MASTER

Wilhelm Furtwängler – Complete Recordings on Deutsche Grammophon and Decca marks 65th anniversary of great conductor’s death

Who was the greatest conductor of all time? For many the answer can only be Wilhelm Furtwängler. The German musician, born in Berlin in 1886, secured global fame in the 1930s as music director of the Berliner Philharmoniker. While his involvement in Nazi cultural politics cast a long shadow over his reputation, his recordings bear witness to a magician capable of revealing fresh insights into even the best-known compositions.

Deutsche Grammophon’s Heritage Team has created a landmark new edition that offers cross-section comparisons of the conductor’s career in all its remarkable creative phases. Wilhelm Furtwängler – Complete Recordings on Deutsche Grammophon and Decca, set for international release on 27 September 2019 to mark the 65th anniversary of his death, comprises 34 CDs, a DVD of his irresistible 1954 Salzburg Festival Don Giovanni performance, and in-depth essays and analysis from critic and blogger Norman Lebrecht and broadcaster Rob Cowan.

Lebrecht provides a nuanced assessment of the conservative-nationalist Furtwängler’s world view in his notes to the edition and in an accompanying video blog series. “There is nothing morally admirable about Furtwängler the man,” he concludes. “The music is another matter.”

Interest in Furtwängler’s music-making has arguably never been stronger. Wilhelm Furtwängler – Complete Recordings on Deutsche Grammophon and Decca offers collectors and first-time listeners alike the chance to explore every facet of his work.

The set features his debut recording, a compelling account of Beethoven’s Fifth Symphony made with the Berliner Philharmoniker in 1926, benchmark interpretations of Haydn’s Symphony No.88 and Schumann’s Fourth Symphony from the early 1950s, and a peerless performance of Brahms’s Second Piano Concerto recorded in 1942 with Edwin Fischer as soloist. Among other highlights are overwhelming readings of Bruckner’s Eighth and Ninth Symphonies, the former made with the Wiener Philharmoniker, the latter with the Berliner Philharmoniker, both recorded in October 1944 as Hitler’s Reich was being reduced to rubble. Also included are the conductor’s recordings for Decca, now available complete for the first time, and a number of rare Japanese remasterings, previously inaccessible outside Japan.

Deutsche Grammophon’s new Furtwängler anthology covers the full spectrum of the conductor’s symphonic repertoire. The “treasure-trove here on offer,” observes Rob Cowan, “often defies belief for its impact and intuitive grasp of what sits at the soul of the music played”. Furtwängler’s experience as a composer and profound study of the formal structures of the symphony informed his awe-inspiring interpretations of Beethoven, Brahms and Bruckner. No matter how fluid his tempos or extreme his dynamic contrasts, he always sought to show the organic nature of every work he performed: “Every whole,” he wrote shortly before his death in 1954, “must be ‘simple’ in its own way, and by seeing it as a whole we are making it simple.”

The edition embraces his lightness of touch in such early Polydor recordings as Mendelssohn’s “A Midsummer Night’s Dream” and Rossini’s La gazza ladra overtures. It also captures the full gravity of post-war radio recordings of, among many others, Beethoven’s Große Fuge, Brahms’s First Symphony and Beethoven’s Violin Concerto. Listeners can explore the nature of Furtwängler’s recordings from before, during and after the Second World War; compare his work with the Berliner Philharmoniker and the Wiener Philharmoniker, or of the same composition with different soloists; and judge the respective qualities of his live and studio recordings. The latter include the Yellow Label’s 1951 recording of Furtwängler’s monumental Second Symphony, which he conducted often during his final years, and a sequence of recordings for Decca, César Franck’s Symphony in D minor legendary among them.

The son of an archaeologist father and artist mother, Wilhelm Furtwängler was a prodigiously talented child. His patrician family arranged for him to be privately educated – he excelled at music, began composing at the age of seven and received composition lessons from Joseph Rheinberger and Max von Schillings. Furtwängler’s early works, including a symphony, were ambitious if conservative in style; he chose conducting as a career, however, in order to make a living following his father’s early death and to develop his understanding of the art of musical interpretation. Wilhelm Furtwängler – Complete Recordings on Deutsche Grammophon and Decca ideally illustrates his manner of building an interpretation with an extract from a 1930 rehearsal of Richard Strauss’s Till Eulenspiegels lustige Streiche with the Berlin Philharmoniker and a selection of radio interviews in which he discusses (in German) such matters as tempo, style, acoustics and audiences.

 

“Critics are forever positing this or that modern maestro as a possible successor to Furtwängler. Dream on is what I say. Sixty-five years after his death, and we’re still waiting.”

Rob Cowan, Classic FM presenter and Furtwängler expert






HILDUR GUÐNADÓTTIR WINS HER FIRST EMMY FOR ACCLAIMED CHERNOBYL SOUNDTRACK

September 18, 2019: Composer, cellist and singer Hildur Guðnadóttir’s Chernobyl soundtrack has been awarded an EMMY for Outstanding Music Composition for a Limited Series, Movie or Special. Also nominated in her category for a Creative Arts EMMY were David Arnold (Good Omens), T Bone Burnett (True Detective), Kris Bowers (When They See Us) and Edward Shearmur (Escape at Dannemora). The ceremony took place at the Microsoft Theater in Los Angeles, where the miniseries picked up a total of seven awards. Chernobyl has further nominations for next Sunday’s Primetime EMMY’s including Outstanding Limited Series.

Commenting on her success, Guðnadóttir said, “It’s been wonderful to follow the reactions to HBO’s Chernobyl miniseries over this summer. I recorded the building blocks for the soundtrack with field-recordist Chris Watson and score-producer Sam Slater at the Ignalina Power Plant in Lithuania, a decommissioned nuclear reactor in which the show was filmed. The vastness of the site directly influenced the score: ultimately no classical instruments were used, and instead the recordings were turned into music, where the only traditional instrumental element was my voice, which was subsequently processed using Impulse Responses recorded on the site. The show itself portrays the disaster with respect and realism, and I was adamant the score reflects this. I wanted to show the viewer how it would feel to be there, and to tell this story of fear, loss and, ultimately, human error.”

Guðnadóttir’s tense, eerie soundtrack plays an integral role in Chernobyl’s overwhelming, claustrophobic drama. The Berlin-based musician spent an entire day on the site in protective clothing prior to shooting, accompanied by Slater and Watson, a founding member of influential industrial music pioneers Cabaret Voltaire who’s also known for his work the past two decades on David Attenborough’s famed nature documentaries.


Deutsche Grammophon’s Senior Director New Repertoire, Christian Badzura, pays tribute to Guðnadóttir’s profound creative impact on the Chernobyl series. “Hildur has created such a hauntingly beautiful score, mostly based on field recordings,” he said. “The innovative and coherent musical language is so deeply interconnected with the moving picture, so that visuals and music become one aesthetic experience.” 

Guðnadóttir has composed a number of soundtracks over the past decade, most recently Todd Phillips’ Joker, which is due for worldwide release in October. She also wrote the score for last year’s Sicario: Day of the Soldado, the follow up to Denis Villeneuve’s 2015 masterpiece, Sicario, which was in turn scored by her friend and regular collaborator, the late Jóhann Jóhannsson. In addition, Guðnadóttir has worked with a further cast of renowned artists, including Nico Muhly, Ben Frost, The Knife, Sunn O))) and Hauschka.



Frank Briegmann, CEO & President Universal Music Central Europe and Deutsche Grammophon, congratulates Guðnadóttir on her EMMY win and praises her part in building Chernobyl’s realist drama. “Congratulations to Hildur for winning an EMMY. Her score for Chernobyl is of breathtaking intensity,” he noted. “With this work she has broken through the boundaries of her ‘home genre’, classical music, to enter new musical worlds. It’s an honour and a pleasure for me and the entire Deutsche Grammophon team to accompany Hildur in doing so.”





OPUS KLASSIK