The complete classical Grammy nominations

Best engineered album, classical
Danielpour: The Passion of Yeshua. Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)

Gershwin: Porgy and Bess. David Frost & John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)

Hynes: Fields. Kyle Pyke, engineer; Jesse Lewis & Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)

Ives: Complete Symphonies. Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel and Los Angeles Philharmonic)

Shostakovich: Symphony No. 13, “Babi Yar.” David Frost and Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)

Producer of the year, classical
Blanton Alspaugh; David Frost; Jesse Lewis; Dmitriy Lipay; Elaine Martone

Best orchestral performance

Aspects of America — Pulitzer Edition. Carlos Kalmar, conductor (Oregon Symphony)

Concurrence. Daníel Bjarnason, conductor (Iceland Symphony Orchestra)

Copland: Symphony No. 3. Michael Tilson Thomas, conductor (San Francisco Symphony)

Ives: Complete Symphonies. Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Lutoslawski: Symphonies Nos. 2 & 3. Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)

Best opera recording

Dello Joio: The Trial at Rouen. Gil Rose, conductor; Heather Buck and Stephen Powell; Gil Rose, producer

Floyd, C.: Prince of Players. William Boggs, conductor; Keith Phares and Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)

Gershwin: Porgy and Bess. David Robertson, conductor; Angel Blue and Eric Owens; David Frost, producer (the Metropolitan Opera Orchestra; the Metropolitan Opera Chorus)

Handel: Agrippina. Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)

Zemlinsky: Der Zwerg. Donald Runnicles, conductor; David Butt Philip and Elena Tsallagova; Peter Ghirardini and Erwin Stürzer, producers (Orchestra of the Deutsche Oper Berlin; Chorus of the Deutsche Oper Berlin)

Best choral performance

Carthage. Donald Nally, conductor (The Crossing)

Danielpour: The Passion of Yeshua. JoAnn Falletta, conductor; James K. Bass and Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann and Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus and UCLA Chamber Singers)

Kastalsky: Requiem. Leonard Slatkin, conductor; Charles Bruffy, Steven Fox and Benedict Sheehan, chorus masters (Joseph Charles Beutel and Anna Dennis; Orchestra of St. Luke’s; Cathedral Choral Society, the Clarion Choir, Kansas City Chorale and the Saint Tikhon Choir)

Moravec: Sanctuary Road. Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather and Laquita Mitchell; Oratorio Society of New York Orchestra; Oratorio Society of New York Chorus)

Once Upon a Time. Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)

Best chamber music/small ensemble performance

Contemporary Voices. Pacifica Quartet

Healing Modes. Brooklyn Rider

Hearne, T.: Place. Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra

Hynes: Fields. Devonté Hynes & Third Coast Percussion

The Schumann Quartets. Dover Quartet

Best classical instrumental solo
Ades: Concerto for Piano and Orchestra. Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)

Beethoven: Complete Piano Sonatas. Igor Levit

Bohemian Tales. Augustin Hadelich; Jakub Hrůša, conductor (Charles Owen; Symphonieorchester des Bayerischen Rundfunks)

Destination Rachmaninov — Arrival. Daniil Trifonov; Yannick Nézet-Séguin, conductor (the Philadelphia Orchestra)

Theofanidis: Concerto for Viola and Chamber Orchestra. Richard O’Neill; David Alan Miller, conductor (Albany Symphony)

Best classical solo vocal album
American Composers at Play — William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto. Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich and Jason Vieaux)

Clairieres — Songs by Lili & Nadia Boulanger. Nicholas Phan; Myra Huang, accompanist

Farinelli. Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)

A Lad’s Love. Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley and Ben Russell)

Smyth: The Prison. Sarah Brailey and Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

Best classical compendium
Ades Conducts Ades. Mark Stone and Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer

Saariaho: Graal Theatre; Circle Map; Neiges; Vers Toi Qui es si Loin. Clément Mao-Takacs, conductor; Hans Kipfer, producer

Serebrier: Symphonic Bach Variations; Laments and Hallelujahs; Flute Concerto. José Serebrier, conductor; Jens Braun, producer

Thomas, M.T.: From the Diary of Anne Frank & Meditations on Rilke. Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer

Woolf, L.P.: Fire and Flood. Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer

Best contemporary classical composition
Ades: Concerto for Piano and Orchestra. Thomas Adès, composer (Kirill Gerstein, Thomas Adès and Boston Symphony Orchestra)

Danielpour: The Passion of Yeshua. Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra and Buffalo Philharmonic Chorus)

Floyd, C.: Prince of Players. Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus and Milwaukee Symphony Orchestra)

Hearne, T.: Place. Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra)

Rouse: Symphony No. 5. Christopher Rouse, composer (Giancarlo Guerrero and Nashville Symphony)

 

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  • Best Score Soundtrack For Visual Media

    Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.

    AD ASTRA
    Max Richter, composer

    BECOMING
    Kamasi Washington, composer

    JOKER
    Hildur Guðnadóttir, composer

    1917
    Thomas Newman, composer

    STAR WARS: THE RISE OF SKYWALKER
    John Williams, composer, recipient of the RPS Gold Medal 2020
    https://en.wikipedia.org/wiki/Royal_Philharmonic_Society#The_Gold_Medal

  • Since when have Rachmaninoff or Dvořák concertos been “instrumental solo”?

    This is all beneath our contempt at SD.

  • The Grammies have become nothing more than sales awards.
    It’s no longer about good the record is (and many of these entrants are excellent); the bottom line is how many units were moved.

  • (I don’t know if this comment got posted or not because of cyberweirdness, but here it is again:)
    The Grammies have become nothing more than sales awards.
    It’s no longer about good the record is (and many of these entrants are excellent); the bottom line is how many units were moved.

  • Probably all very good records but something vaguely bleak and depressing about this. No small labels
    , no charming little diversions, nothing eccentric or refreshing. Just all the big beasts as usual.
    Norman should be in charge of the shortlist!

  • The Classical Grammy’s, for all its flaws and clubbiness, is the most open of all the major international classical music industry awards, in that it is the least tied with a particular country or a particular record company (I’m looking at you, all you German, British, French industry awards, virtual in-house advertisements for its domestic labels and artists).

    • Finally somebody here got the message…
      Name us just one other event in the world at which an artist like Nicola Benedetti can perform the rather edgy piece (for such occasion) “Fiddle Dance Suite” under prime technical stage conditions to a diverse, musically interested and rather open minded and patient audience. Just go to one of these ‘serious’ classical music events and observe the embarrassing audience reactions (from unrest to chatter) as soon as an artist dares to perform music of a genre which can’t be found in the audience member’s CD collections…

  • The unwritten tragedy here is that the great MET Orchestra and Chorus are going hungry and cannot eat their well-deserved Grammy nomination for sustenance.

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