The 62nd Grammy Awards took place yesterday (Sunday 26 January 2020) at the Staples Center in Los Angeles.
This year’s classical winners are as follows:
- Best engineered album, classical – Riley: Sun Rings Leslie Ann Jones, engineer; John Kilgore, Judith Sherman & David Harrington, engineers/mixers; Robert C. Ludwig, mastering engineer (Kronos Quartet)
- Producer of the year, classical – Blanton Alspaugh
- Best orchestral performance – Norman: Sustain Gustavo Dudamel, conductor (Los Angeles Philharmonic)
- Best opera recording – Picker: Fantastic Mr Fox Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)
- Best choral performance – Duruflé: Complete Choral Works Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir) Signum Classics
- Best chamber music/small ensemble performance – Shaw: OrangeAttacca Quartet
- Best classical instrumental solo – Marsalis: Violin Concerto; Fiddle Dance Suite Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)
- Best classical solo vocal album – Songplay Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter & Craig Terry, accompanists (Steve Barnett & Lautaro Greco)
- Best classical compendium – The Poetry of Places Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
- Best contemporary classical composition – Higdon: Harp Concerto Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
Violinist and ‘Best Classical instrumental solo’ winner Nicola Benedetti performed Bye Bye Breakdown by Wynton Marsalis from his Fiddle Dance Suite at the awards premiere ceremony, making her the first classical solo violinist to perform at the ceremony in ten years.
Benedetti commented: ‘This recording project has been a deeply edifying experience for me and one I will always reflect on with immense gratitude. It has been a privilege to learn and perform these two inspired and unequivocal masterpieces, and to deepen my understanding of Wynton’s compositional language, cultural richness and philosophical insights. Long-form musical pieces are often described as a journey and this sure has been a rich and fascinating one.’