Part I of this year’s best classical recordings had music that had been established in the repertoire. This second list is the best recordings of music newly documented. That doesn’t automatically mean New Music—see Salieri below—but music that will be new to the ears.
For the first list, I pointed out how I catch so many concerts that a repertoire recording has to be superior to grab my attention. For new music, I also hear a lot of it in concert, and my general feeling is that there’s a lot of well-made music that stays within safe boundaries of expectations. Any new piece that captures my interest has got some surprises in it.
- Amy Shulman, Ruriko Terada, Alison Bjorkedal, Catherine Litaker, Elizabeth Huston, Ellie Choate, Nicholas Deyoe, James Tenney: 64 Studies for 6 Harps (New World)
- New York Philharmonic, The Crossing, Young People’s Chorus of New York City, Jaap van Zweden, Julia Wolfe: Fire in My Mouth (Decca Gold)
- Third Coast Percussion, Perpetulum
- The Deontic Miracle, Catherine Christer Hennix: Selections from 100 Models of Hegikan Roku (Blank Forms)
- Dither, Potential Differences (New Focus)
- Seattle Symphony Orchestra, Ludovic Morlot, John Luther Adams: Become Desert (Cantaloupe)
- Les Talens Lyrique, Christopher Rousset, Salieri: Tarare (Harmonia Mundi)
- Jenny Lin, The Etudes Project: Volume One, ICEBERG (Sono Luminus)
- Wild Up, Theo Bleckmann, Lindsay Kesselman, Christopher Cerrone: The Pieces that Fall to Earth (New Amsterdam)
- Various Artists, Dai Fujikura: Zawazawa (Minabel)
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