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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 Bröllopsmusiken från Storkyrkan
Unik minnesskiva med originalmusiken från det Kungliga bröllopet i Storkyrkan.

Den exklusiva CD-skivan innehåller en historisk minnesbok och
musiken från vigseln mellan Kronprinsessan Victoria och Prins Daniel.
Medverkande: Agnes, Björn Skifs, Jeanette Köhn, Kungliga Filharmonikerna, Gustaf Sjökvists Kammarkör, Storkyrkans Kör, Blåsare från Försvarsmusiken, Adolf Fredriks Flickkör, Westlings Spelmän m.fl.

59 kr
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 Uppbrott
Högt betyg i DN till Sandström!
"Musiken i kantaten anländer fjäderlätt som om den redan fanns, eller alltid hade funnits. Nyckfullt och med en sinnlighet som lägger sig tätt inpå orden." (Martin Nyström, DN)

”När man som lyssnare tagit sig igenom det nära timslånga verket, helst med texthäftet och Aspenströms dikter i handen, känns det som att ha tillryggalagt en resa märkligt rik på starka upplevelser.” (Staffan Storm, Sydsvenskan)

”Tonspråket, koloriten, klangen i kören – allt är Sandström av bästa märke. Måtte ’Uppbrott’ snabbt finna sin plats i en inofficiell svensk kanon. Såväl i konserthus som i kyrkan.” (Camilla Lundberg, Opus)

2018 tonsatte Sven-David Sandström Werner Aspenströms diktsamling "Snölegend" från 1949, och skapade kantaten "Uppbrott - Det finns gammal tid och en ny tid" för kör, orkester och solister. Sandström fick tragiskt nog aldrig höra verket, då han gick bort bara några få dagar före uruppförandet sommaren 2019. Nu har Adolf Fredriks kyrkas kammarkör och orkester spelat in det under ledning av Christoffer Holgersson, med Hanna Husáhr, sopran, och Olle Persson, baryton, som solister.

159 kr
Image Piano Concertos Nos. 1 & 2
In 2019, Alexandre and Jean-Jacques Kantorow’s recording of the last three piano concertos by Camille Saint-Saëns earned the highest praise around the world, including a Diapason d’or de l’année, Editor’s Choice in Gramophone and top marks and recommendations from the leading German web sites Klassik Heute and The Kantorows’ orchestra of choice was the Finnish ensemble Tapiola Sinfonietta, and they have now returned to Helsinki to record not only Saint-Saëns’ first two concertos, but all of the remaining works for piano and orchestra. Presented on this amply filled disc, the program spans 33 years, the earliest work being Concerto No. 1, regarded as the first significant French piano concerto and written by a 23-year old composer. Ten years later, in 1868, Saint-Saëns composed the Concerto in G minor, a work which at first met with consternation although Liszt – who was present at the first performance – thoroughly approved of it. The work, which begins with the soloist playing what resembles the improvisations of an organist, soon became popular however, and remains one of Saint-Saëns’ best-known works. The shorter pieces which make up the rest of the program were written between 1884 and 1891, and could be said to erveal different aspects of the composer: Wedding Cake was written as a wedding present to a close friend, in Rhapsodie d’Auvergne Saint-Saeëns explored French folk music, while Africa is a piece of pure Orientalism, reflecting his lasting affection for North Africa.

169 kr
Image Live at Village Jazz Club (2CD)
Jan Allan firar 70 år på jazzscenen!
"Denna dubbel-cd innehåller exempel på hur våra tidiga orkestrar kunde låta när det spelades upp till dans i Folkets Park under 1950-talet.
Musiken på Dansrestaurangen Nalen kom att stå modell för många orkestrar ute i landet som ofta imiterade storband som Count Basie, Duke Ellington eller Stan Kenton. Själv kom jag att spela med Carl-Henrik Norins Orkester 1955-1958, med arrangemang av Carl-Henrik, Georg Riedel, Bengt Hallberg, Claes Rosendahl, Gösta Theselius och Gunnar Svensson." (Jan Allan)

Två konserter inspelade live på Village Jazz Club i Västerås 1991, med oktett respektive nonett. Medverkande:
Jan Allan, Rolf Blomquist, Hans Åkesson, Erik Nilsson, Torgny Nilsson, Lars Bagge, Ove Lundin, Rune Gustafsson, Georg Riedel och Johan Dielemans.

249 kr
Image The Lord's Prayer
139 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
Image Brahms, Maier & Röntgen: Violin Concertos
This new release is a fully loaded album with a unique combo of violin concertos by Johannes Brahms and his contemporary friends, Amanda Maier and Julius Röntgen. Furthermore, the album includes a brand-new Brahms cadenza, written by award-winning Swedish composer, Mats Larsson Gothe. This is the first Swedish studio recording of Brahms’s concerto with one of Sweden’s foremost violinists, Cecilia Zilliacus, Malmö Symphony Orchestra, and renowned Estonian conductor, Kristiina Poska. ”Cecilia is extremely musical and living proof that it’s always possible to pursue unusual ideas.” (The Strad, 2018) Over the years, audiences have embraced Cecilia Zilliacus’ equally tantalizing and warm interpretations of everything from the great classical and romantic works to contemporary chamber music and collaborations across genres – from the most prominent symphony orchestras, conductors and composers in Europe, to jazz musicians, folk musicians, singer song-writers and many others.

159 kr
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