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Image Plays Mozart
Martin Fröst, basset clarinet* & clarinet
Die Deutsche Kammerphilharmonie Bremen*
Antoine Tamestit, viola; Leif Ove Andsnes, piano**
Janine Jansen & Boris Brovtsyn, violins; Maxim Rysanov, viola; Torleif Thedéen; cello***

W.A. Mozart:
Concerto in A major for Clarinet and Orchestra, K 622*
Trio for Clarinet, Viola and Piano, 'Kegelstatt', K 498**
Allegro for Clarinet and String Quartet in B flat major,
K Anh.91 (516c) (completed by Robert Levin)***

One of a small handful of truly international wind players, Martin Fröst mesmerizes audiences throughout the world, whether he is performing one of the several concertos that have been composed especially for him or core repertoire such as the sonatas by Brahms, the concertante pieces by Weber or, indeed, the clarinet works by W.A. Mozart. Released 10 years ago, in 2003, Fröst's first recording of the Concerto in A major is one of the best-selling discs in BIS' history. Returning to this glorious work, he now also directs the eminent Deutsche Kammerphilharmonie Bremen himself. For the couplings on this very special release, Martin Fröst has assembled a truly star-studded group of musician friends, with Leif Ove Andsnes and Antoine Tamestit partnering him in the so-called Kegelstatt Trio, and with Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Thedéen joining him in the rarely heard Allegro for Clarinet and String Quartet, K Anh.91. Probably composed in 1787 - two years before the famous Quintet in A major for the same forces - the Allegro, in the extant autograph manuscript, breaks off after 93 bars, or three bars into the development section. If Mozart actually completed the movement and for what purpose he intended it isn't known, but the completion made by Robert Levin adds to the modern clarinetist's repertoire a work of great imagination that would otherwise have languished unperformed.



69 kr
Image Nielsen & Sibelius: Violin Concertos
Carl Nielsen and Jean Sibelius, alongside Grieg the two giants in Nordic classical music, were both born in 1865. Both also received their first musical training on the violin, earning valuable insights when it came to writing for the instrument. Their respective violin concertos were composed some six years apart – Sibelius’ in 1904-05 and Nielsen’s in 1911 – and belong to the most performed works of either composer. They are nevertheless as different from each other as are the artistic temperaments of their makers. While retaining the traditional three-movement concerto form, Sibelius composed something closer to a Late-Romantic orchestral tone poem giving the orchestra unusual prominence. Nielsen on the other hand opted for an unconventional form, reminiscent of the Baroque concerto grosso: the spiky, neoclassical work is nominally in two movements, but with each movement having a slow and a fast section. These works are here performed by Johan Dalene, the Swedish-Norwegian winner of the 2019 Nielsen Competition. The present disc is the 21 year old violinist’s third release on BIS, following a recording of the Tchaikovsky Concerto described as ‘one of the finest violin débuts of the last decade’ in BBC Music Magazine, and an all-Nordic violin-and-piano recital awarded distinctions such as Diapason d’or and Gramophone’s Editor’s Choice. Dalene is given the expert support of the Royal Stockholm Philharmonic Orchestra and conductor John Storgårds, incidentally a violin soloist in his own right.

169 kr
Image Symphonies Nos. 3 & 4
Maestro Herbert Blomstedt and the Gewandhausorchester Leipzig close their acclaimed PENTATONE Brahms cycle with the composer’s Third and Fourth Symphonies. Compared to the epic First and gloomily pastoral Second, Brahms’s Third Symphony is a glorious exploration of the chamber-musical possibilities of the symphony orchestra. While musical variation of elementary motifs already plays an important role in this work, Brahms shows his absolute mastery of that technique even more impressively in The Fourth. Blomstedt’s keen eye for analytical detail never goes at the cost of the music’s emotional resonance, and the Gewandhausorchester plays these symphonies glowingly, demonstrating their extraordinary ensemble sound. Blomstedt’s work as a conductor is inseparably linked to his religious and human ethos, and his interpretations combine great faithfulness to the score and analytical precision with a soulfulness that awakens the music to pulsating life. In the more than sixty years of his career, he has acquired the unrestricted respect of the musical world. The Gewandhausorchester Leipzig is the oldest civic orchestra in the world with a glorious history, and is still counted among the world’s leading ensembles. Their PENTATONE releases of Brahms’s First Symphony and Tragic Overture (2020), as well as his Second Symphony and Academic Festival Overture (2021), received rave reviews.

159 kr
Image Trasighet och Fransar



Den skånska sångerskan Iris Bergcrantz röst har beskrivits som känslofull, klangrik och vacker. Till albumet "Trasighet och fransar" har hon valt ut sina favoritkompositioner av Olle Adolphson. Slutresultatet är en perfekt kombination av hennes personliga röst och Olle Adolphsons unika sångskatt, i storslagna arrangemang med både stråkar och blås.

”Iris Bergcrantz griper tag i lyssnaren med sin starka känsla. Mest av allt tycks hon utgå från en känsla. Hon gör det i varje givet stycke och utan att egentligen bekänna sig till någon särskild genre. Det faller tillbaka på ett förhållande till musiken och till texterna som kanske närmast påminner om principen med blues. När det griper tag om lyssnaren blir uttrycket större än ramverket, och lyfter i sin tur allt runt omkring" (Johannes Cornell, Dagens Nyheter)

Iris Bergcrantz -vocal
Calle Brickman - piano
Anders Fjeldsted - double bass
Andreas Fryland - drums

Andrs Bergcrantz - trumpet
Jasmin Gomaa - horn
Maria Bergström - Violin
Samuel Lundström - Violin
Elina Nygren - Viola
Johanna Hydén - Cello


159 kr
Image Barfotasånger (Complete Songs)
From 1950 and onwards, Allan Pettersson was mainly occupied with working on the monolithic symphonies for which he is best known. But before that, while still a student at the Conservatory in Stockholm and later a viola player in the Stockholm Philharmonic Orchestra, he composed two sets of songs: Six Songs and Barfotasånger (Barefoot Songs). Of these two, the second would become especially important for the composer, who returned to it throughout his life, quoting various songs from it in his symphonies. In Barfotasånger he set his own poems, full of autobiographical detail and using a highly personal, archaic language. Several of the songs reflect his childhood, as the youngest of four children growing up in a poor working-class neighborhood in Stockholm. All but two of them are in a minor key, in an idiom which alludes to folk songs, hymns and popular songs. They are here brought to sometimes painful life by Peter Mattei, one of the great singer-actors of our time, supported by Bengt-Åke Lundin, with whom he first collaborated almost 30 years ago, on an album of songs by Wilhelm Stenhammar.

169 kr
Image Cantatas, Vol. 55
Bach Collegium Japan / Masaaki Suzuki

Hana Blažíková, soprano; soprano; Robin Blaze, counter-tenor;
Gerd Türk, tenor; Peter Kooij, bass


In classical music, one of the most monumental tasks that anyone could undertake is that of recording the complete church cantatas by J.S. Bach. Masaaki Suzuki and his Bach Collegium Japan recorded the first instalment of their cycle in 1995. Now, 18 years and 55 discs later, a great adventure is brought to a close. The chronological approach adopted by Suzuki means that the three works included here are the last extant cantatas by Bach's hand. But as so often with the sacred music from his late period, in all three Bach turned to earlier works. Lobe den Herrn, meine Seele, BWV69, was first performed at a Leipzig church service in 1748 celebrating the annual change of municipal leadership. With its rich orchestral scoring it was excellently suited to the task of lending appropriate artistic splendour to the political festivities, and the fact that its central movements had already been performed at a similar occasion some 25 years earlier was probably not recognized by anyone in the illustrious congregation. In Freue dich, erlöste Schar, BWV30, Bach also harks back to an earlier work, but this time of a secular nature, which explains various unusual features, such as the surprising beginning of the introductory chorus, without any instrumental prelude, and Bach's liberal use of dance models such as the passepied, the gavotte and the gigue. The closing work of the disc - and of the entire series - isn't really a cantata in the usual sense of the word: with its Latin text, it could never have been performed at a regular church service in Lutheran Leipzig in Bach's time. A reworking of the Gloria from the B minor Mass, BWV232, its three movements were possibly prepared by Bach at short notice for a special ceremony at the Leipzig University Church on Christmas Day 1745, to celebrate a peace treaty between Prussia and Saxony. Even though its connections to the genre may be regarded as tenuous, Gloria in excelsis Deo, BWV191 is traditionally included among the church cantatas - and it is difficult to think of a more suitable finale to a recording project remarkable not just for its musical qualities but also for the performers' approach to the religious dimension of these works: 'Glory to God in the highest'.


169 kr
Image Lessons - Lute Music
In English Renaissance collections of music, the term ‘lessons’ is often used to describe instrumental pieces, even though they aren’t pedagogical exercises as such. But as Jonas Nordberg writes in an introduction to his new disc ‘there remains much in them to be studied’. John Dowland is one of the composers whose music was a driving force of the Early Music revival already at the beginning of the 20th century. He has also played a central role in the rediscovery of the lute itself, an ongoing process which began more than a hundred years ago. Like many other musicians, Jonas Nordberg is continuously exploring the intimate relationship between a score and the instrument it was written for: ‘The pieces by Dowland on this album contain an entire musical universe, in which I have spent many years, discovering new layers of meaning. In that way these lessons – in combination with the instrument on which I play them – have also been my teachers. So it is a great pleasure to invite you to share them with me, and to explore for yourselves the rich combination of melancholy, joy and beauty to be found in these works.’

169 kr
Image Taube Tolkar Taube
När Sven-Bertil Taube nu på nytt har sjungit in sin fars visor kan detta sägas bilda codan på ett stycke svensk kulturhistoria. Två
långa konstnärskarriärer har vävts samman till ett verk.

Liksom en Homeros har Sven-Bertil Taube den här gången tvingats förlita sig på andra sinnen än synen. Han har memorerat
texterna och tolkat dem så som bara en skådespelare med djup kunskap om ämnet kan göra.

Det skall också sägas att han har blivit varsamt ledsagad av Göteborg Wind Orchestra under ledning av Jerker Johansson samt av pianisten Anders Ekdahl.



79 kr
Image Partitas & English Suites, Vol. 3 (2CD)
129 kr
Image Cantatas, Vol. 54
Bach Collegium Japan / Masaaki Suzuki
Hana Blažíková, soprano; Damien Guillon, counter-tenor
Gerd Türk, tenor; Peter Kooij, bass

As the penultimate volume in the acclaimed cycle recorded by Masaaki Suzuki and his Bach Collegium Japan sees the light of day, it is a sobering thought that as many as a hundred of Bach's church cantatas may have been lost. The exact number would be difficult to ascertain, but what we do know is that Bach probably composed at least one more complete set of cantatas - for the church year of 1728-29 - and of this set only nine are extant. The fragment Ehre sei Gott in der Höhe, BWV197a, apparently intended for Christmas Day of 1728, is one of these. Bach's autograph score lacks no fewer than 24 pages, meaning that the first three movements and a large proportion of the fourth have been lost. We are fortunate, however, in that nine years later Bach reused parts of the work in the large-scale wedding cantata Gott ist unsre Zuversicht, BWV197. This has made it possible to reconstruct the missing part of the fourth movement - an alto aria addressed to baby Jesus in the manger - and also allows for interesting comparisons between the two versions. The other two works included in this volume were both composed around 1735, and give rich evidence of Bach's versatility in terms of style. The contrast is striking between the decidedly fashionable bass aria BWV100/4, with its syncopated melody and gossamer string writing, and the highly intricate counterpoint that Bach lays out in Wär Gott nicht mit uns, the opening chorus of BWV14.



169 kr
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