31, 2020.Įquivalent album units - for album titles and chart rankings cited below - comprise traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). MRC Data’s 2020 tracking year ran from Jan. See the year’s top 10 albums chart below.Ģ020 is the third straight year that the top album is an R&B/hip-hop effort, following Post Malone’s Hollywood’s Bleeding (2019, 3 million units ) and Drake’s Scorpion (2018, 3.91 million units ). The company reports that the hip-hop star’s second studio effort earned 2.63 million equivalent album units during the year (*see explanation at end of this story), mostly driven by streaming activity of its songs. Lil Baby’s My Turn finishes 2020 as the most popular album of the year in the U.S., according to MRC Data (formerly Nielsen Music). album equivalent audio music consumption grew 12% Taylor Swift’s 'Folklore' is the only million-selling album of 2020 on-demand audio song streams jumped 17% and vinyl album sales notch 15th straight year of growth. That would really put the icing on the cake.And since Luisi has been engaged by the DNSO through the 2026 season, I hope DG will turn him and the orchestra loose on other worthy repertory while it has the opportunity to do so.Lil Baby’s ‘My Turn’ Is MRC Data’s Top Album of 2020, Roddy Ricch’s ‘The Box’ Most-Streamed Song The complete cycle is due for release on CD in April, to be followed in August by an e-album offering the Nielsen concertos for violin (1911), flute (1926), and clarinet (1928).īefore it’s too late, I’d like to put in a request for an additional installment in what is shaping up to be the definitive Nielsen cycle of our time: a release of shorter orchestral works including the Maskarade Overture, Helios, Pan and Syrinx, and An Imaginary Journey to the Faroe Islands. 2 and 6 should be available before this review is published. 1 and 3 is already out, and that for Symphonies Nos. Mikkel Nymand is credited as the engineer, Bernhard Guettler as the editor and producer. The hall has an ample acoustic, almost too boomy, but as recorded here and auditioned on a 24/96 hi-res download, it sounds nicely atmospheric. 4) in the 1800-seat main hall of DR Koncerthuset, the magnificent new complex designed by Jean Nouvel for Danmarks Radio that opened in 2009. The recordings were made on November 27–28, 2019 (Symphony No. The edition corrects errors that were in the earlier scores, and clarifies performance instructions like those pertaining to the “receding” snare drum at the end of the first movement of the Fifth. Bucolic and severe, with a melancholy anger that puts one in mind of Shostakovich (at his best) but remains utterly, cinematically unique, it receives an authoritative interpretation at the hands of these performers.įor this cycle, Luisi and the Danes use the superlative new edition of Nielsen’s works issued by The Royal Library, Copenhagen, in conjunction with the publisher Wilhelm Hansen, which began appearing around the turn of the present century. 5, finished in 1922 in the aftermath of World War I, and now recognized as Nielsen’s philosophical summa. The coupling here is the possibly even greater Symphony No.
1, at the edge of the orchestra near the audience.” In the present recording, this spatial contrast is realized to perfection. Per the wording in the score, the drums marked Timp. To give just two for-instances: the searing tone of the violins at the beginning of the Fourth’s Poco adagio (despite the absence of any expressive marking in the score), and the timpani battle that rages across the finale, which has never sounded so stunning. The result is idiomatic, illuminating, and powerful. Playing under the baton of Fabio Luisi, its principal conductor since 2017, the Danish National Symphony Orchestra boasts top-flight winds and brass, gutsy strings, and some very impressive to-the-manner-born interpretive gifts. 4 ( The Inextinguishable), the bold opening salvo in a cycle of Nielsen’s six symphonies slated for completion later this year, leaves the Karajan/Berlin and Martinon/Chicago accounts, fine as they are, far behind.
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