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BIS RECORDS (PART ONE)

SOMMER 2018

Sveriges internationale flagskib indenfor klassisk musik har indspillet det meste.
Der er både standardrepertoiret såvel som nykomponeret musik.

Første del af sommerens BIS-kampagne fokuserer på titler med de store orkester og korværker af både de store mestre og de mindre kendte komponister.

Bland guldkornene finder du Tjajkovskijs symfonier med Neeme Järvi og GSO, Bachs kantater, oratorier og passioner med Bach Collegium Japan, solokoncerter med Martin Fröst, symfoniske saltomortaler med Svenska kammarorkestern og meget andet.
Viser 156 varer
Image Symfoni nr 2
4 AV 5 MÖJLIGA I BETYG I HALLANDSPOSTENDetta är den fjärde volymen i Järvis hyllade serie med Tjajkovskijs kompletta symfonier.

kr. 69,98 (kr. 139,95)
Image Clarinet Concerto
GRAMMIS-VINNARE 2004
VALD AV SARA NORLING PÅ DAGENS NYHETER
(2006-01-22) TILL EN AV HENNES FAVORITSKIVOR MED MUSIK AV MOZART ...De här versionerna är så nära fulländning som det står i mänsklig förmåga att nå fram till...
...Fröst med sin sagolika teknik och oöverträffade nyansrikedom och sitt underbara spelmanskap...(Göteborgs-Posten)

kr. 69,98 (kr. 139,95)
Image Symphony No. 4
5+ I BETYG I HIFI & MUSIK

In the cycle of Tchaikovsky's symphonies with Gothenburg Symphony Orchestra conducted by Neeme Järvi, we have reached the fifth instalment.

kr. 69,98 (kr. 139,95)
Image Symphony No. 3
This disc completes the cycle of Tchaikovsky's symphonies with Gothenburg Symphony Orchestra conducted by Neeme Järvi, a cycle which as a whole can be described as resolutely unsentimental, with interpretations aiming to rid these popular scores of the melodramatic excesses that have become part of a performance tradition during more than 100 years in concert halls and on disc.

kr. 69,98 (kr. 139,95)
Image Kantater, vol 29
Dorothee Mields, sopran; Pascal Bertin, countertenor;

Gerd Türk, tenor; Peter Kooij, bas.

Bach Collegium Japan/Masaaki Suzuki.Johann Sebastian Bach

kr. 69,98 (kr. 139,95)
Image St. Matthew Passion, highlights
...profoundly spiritual experience... (Fanfare)
Nancy Argenta, soprano;
Robin Blaze, countertenor; Makoto Sakurada, tenor;
Gerd Türk, tenor;Peter Kooy, bass;
Chiyuki Urano, bass
Bach Collegium Japan/Masaaki Suzuki.

kr. 69,98 (kr. 139,95)
Image Easter Oratorio/Ascencion Oratorio
...När den japanske dirigenten, organisten och cembalisten Masaaki Suzuki (född 1954) med sitt Bach Collegium Japan år 1995 började spela in Bachs samtliga kantater höjdes ett och annat ögonbryn. Efter 30 kantatvolymer har dock projektet, som även inkluderar annan vokal- och instrumentalmusik av Bach, kommit en bra bit på vägen, och rönt internationellt erkännade för stilistisk medvetenhet och vetenskaplig akribi.

kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 40
4 AV 5 MÖJLIGA I BETYG I GÖTEBORGS-POSTEN"Sedvanligt fina insatser av solister, kör, orkester och ljudtekniker."
(Göteborgs-Posten)

kr. 69,98 (kr. 139,95)
Image Motets
Masaaki Suzuki and his Bach Collegium Japan have taken a short break from Bach's cantatas in order to record the same composer's Motets. Although few in number, these include such well-loved works as Singet dem Herrn ein neues Lied and Jesu, meine Freude.

kr. 69,98 (kr. 139,95)
Image Symphony No. 1 & Overtures
GRAMOPHONE EDITOR'S CHOICE

"...Svenska Kammarorkestern i Örebro har blivit en riktig elitensemble..."
"Sällan har Schumann klingat så här ljust, briljant och tilltalande."
(Hifi & Musik)
This disc includes Schumann's very first endeavours in the symphony genre, beginning with the Zwickau Symphony from 1832-33. Of the two completed movements, only the first was ever performed in the composer's lifetime.

kr. 69,98 (kr. 139,95)
Image Symphonies Nos. 8 & 9
EN AV ÅRETS BÄSTA SKIVOR 2010 ENLIGT CARLHÅKAN LARSÉN PÅ SYDSVENSKAN
5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER4 AV 5 MÖJLIGA I BETYG I GÖTEBORGS-POSTEN"Svenska Kammar­orkestern från Örebro med sina 38 musiker har tidigare med stor framgång spelat in Beethovens och Schumanns symfonier. Nu är det dags för Franz Schubert och hans båda mästerverk, den ofullbordade 8:e symfonin och den 9:e som blev hans sista. Och det är lysande lyssning. 8:an jagar i väg med en flämtande puls som om den försökte skaka av sig en förföljare i en värld av branta växlingar mellan olika scenerier. För en svensk är Carl Jonas Love Almqvists teatralt gäckande natur inte långt borta. I den 9:e symfonin stöter orkestern först på patrull i den väldiga första satsen som är notoriskt svårspelad. Här frammanas en rymd som musiken före Schubert aldrig hört maken till och en "himmelsk längd", som Schumann beskrev det. Men den djupa driven hittar man inte och spelet blir lite överenergiskt. I de följande satserna lossnar det dock med ett utsökt klangspel och en sviktande rytmik som utmynnar i finalens virvlande och ohejdbara energier."
(Dagens Nyheter)

kr. 69,98 (kr. 139,95)
Image Symphony No. 2
Swedish Chamber Orchestra
Thomas Dausgaard, conductor

On disc as well as in concert, Thomas Dausgaard and his Swedish Chamber Orchestra have attracted a growing international interest. The team regularly visits some of the world's leading concert venues, and just recently their performance of Schumann's Second Symphony at the BBC Proms made a great impact on audience and critics alike. Precisely Schumann's symphonies have featured in Dausgaard's and the SCO's series 'Opening Doors' on BIS, in which Romantic symphonies are performed with smaller than usual numbers - to great critical acclaim: 'The most perceptive Schumann cycle in over three decades' was the verdict in International Record Review. The sequel to the Schumann recordings was a disc combining Schubert's Unfinished and Great C major Symphonies, described in BBC Radio 3's CD Review as 'a crisp, clean account that somehow seems to strip away layers of silt to get a clear view of the colours underneath.' Dausgaard and the forty-odd members of the SCO now take on a composer whose symphonies often are regarded as the epitome of Romantic grandeur, not to say bulkiness - Anton Bruckner, and his Second Symphony. The recording thus becomes a sort of test of how the 'Opening Doors' concept can be applied to music from the High Romantic period. Thomas Dausgaard himself finds in this work 'a feeling of a very personal prayer - as if Bruckner was meditating and improvising at the organ' and goes on to describe the experience of performing it with the SCO as 'a kind of collective chamber-musical improvisation with a strong symphonic undercurrent. I hope Bruckner would have liked it...'

kr. 69,98 (kr. 139,95)
Image Vestrate di chiesa; Il tramonto; Trittico botticel
In their acclaimed series of Ottorino Respighi’s orchestral music, John Neschling and Orchestre Philharmonique Royal de Liège have transported listeners to destinations as diverse as Brazil (Impressione brasiliane) and King Solomon’s Jerusalem (Belkis, Regina di Saba) as well as giving a thrilling account of the composer’s monumental Sinfonia drammatica – a score of epic proportions for a correspondingly large-scale orchestra. That performance earned a Critic’s Choice in American Record Guide and an ‘Empfehlung’ on German website Klassik-Heute.de, and throughout the series Neschling and his team have received high praise for incisive interpretations and luxurious playing. The present disc brings together three of Respighi’s more popular works, besides the perennial Roman trilogy.

kr. 69,98 (kr. 139,95)
Image Symphony No. 2 / Aladdin Suite
Göteborgs Symfoniker
Myung-Whun Chung, conductor


kr. 69,98 (kr. 139,95)
Image Symfoni nr 3 & 8
GRAMOPHONE AWARD
Sveriges Radios Symfoniorkester / Neeme Järvi.
Eduard Tubin

Symfoni nr 3


kr. 69,98 (kr. 139,95)
Image SYMPHONY IN D/B FLAT/C/E FLAT
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Image CELLO CONC /ELGAR
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Image Eine Kleine Nachtmusik
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Image Four Seasons, The
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Image ORGAN SYMPHONY 2 8
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Image INVENTIONS & SINFONIAS
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Image CONCERTO D MIN
kr. 69,98 (kr. 139,95)
Image Kantater, vol 12
Yukari Nonoshita, sopran; Robin Blaze, countertenor;

Gerd Türk, tenor;
Peter Kooij, bas.

Concerto Palatino; Bach Collegium Japan/Masaaki Suzuki.

JOHANN SEBASTIAN BACH
Kantat nr 147, BWV 147 "Herz und Mund und Tat und Leben"


kr. 69,98 (kr. 139,95)
Image Male Choruses
...I found these by far the best performances of Schubert's male choral pieces. BIS adds in great sound...

(American Record Guide)


Malena Ernman, alt; Jonas Degerfeldt, tenor;

Folke Alin, piano.

Orphei Drängar/Robert Sund.
Franz Schubert

kr. 69,98 (kr. 139,95)
Image CELLOKONSERTER
kr. 69,98 (kr. 139,95)
Image Serenades
Tero Latvala, violin
Tapiola Sinfonietta / Jean-Jacques Kantorow


kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 15
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Image CANTATAS VOL 16
kr. 69,98 (kr. 139,95)
Image Piano Concerto Nos. 20 & 25 (chamber version)
Fumiko Shiraga fick mycket fin kritik för sina inspelningar av Chopins pianokonserter i arrangemang för kammarensemble (BIS 847). Här tolkar hon två pianokonserter av Mozart, bl a den mycket populära tjugonde konserten, i arrangemang för kammarensemble av Hummel. Hummel var bl a elev till Mozart, Haydn och Salieri.
Fumiko Shiraga, piano.

Henrik Wiese, flöjt; Peter Clemente, violin; Tibor Bényi, cello.

Pianokonserter av Mozart i arrangemang för kammarensemble av Johann Nepomuk Hummel

kr. 69,98 (kr. 139,95)
Image FANTAZIAS
kr. 69,98 (kr. 139,95)
Image Woods, Women and Wine
Music by Oswald von Wolkenstein, John Dowland, William Byrd and others.


kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 17
kr. 69,98 (kr. 139,95)
Image Don Quixotte
HÖGSTA BETYG I BBC MUSIC MAGAZINE ...the Drottningholm musicians capture all with admirable esprit and no breaches of stylistic decorum...

(BBC Music Magazine)
Drottningholms Barockensemble.
Georg Philipp Telemann Suite Burlesque de Quixotte G-dur

kr. 69,98 (kr. 139,95)
Image Baroque
Blockflöjtskvartetten Sirena spelar verk av bl a Telemann.

Gästartist: Dan Laurin.
Sirana Recorder Quartet (Karina Agerbo, Marit Ernst, Pia Loman, Helle Nielsen).

kr. 69,98 (kr. 139,95)
Image Gloria; Dixit Dominus
GRAMOPHONE EDITOR'S CHOICE



Emma Kirkby är sopransolist i det nyligen upptäckta verket "Gloria" av Händel.
Emma Kirkby, sopran.

Royal Academy of Music Baroque Orchestra / Laurence Cummings.
Hillevi Martinpelto, sopran; Anne Sofie von Otter, alt.

Drottningholms Barockensemble; Adolf Fredriks Bachkör /
Anders Öhrwall.
Georg Friedrich Händel

kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 18
kr. 69,98 (kr. 139,95)
Image Symfoni nr 1 & 2
Malaysian Philharmonic Orchestra / Kees Bakels.





Giuseppe Martucci

kr. 69,98 (kr. 139,95)
Image RENAISSANCE COURT & DANCE
kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 19
kr. 69,98 (kr. 139,95)
Image BAROQUE ROMANTIC CHOR MUSIC
kr. 69,98 (kr. 139,95)
Image Kantater, vol 20
Gerd Türk, tenor; Peter Kooy, bas m fl. Bach Collegium Japan / Masaaki Suzuki.


kr. 69,98 (kr. 139,95)
Image SYMPHONY NO.4
kr. 69,98 (kr. 139,95)
Image Apothéoses
Classical Music Web skrev bl a följande om London Baroque:s inspelning av triosonater av Bach (BIS 1345): "London Baroque confirm their qualities as not only sensitive and well-balanced, but also creative in these fine transcriptions. This is an essential recording for Bach lovers."

Denna gång tolkar de musik av François Couperin, även kallad ”le Grand”. Här ingår bl a två verk som Couperin tillägnat två andra giganter från barocken - Corelli and Lully. London Baroque.
François Couperin - Apothéoses
La Parnasse ou L'Apothéose de Corelli. Grand Sonade, en Trio

kr. 69,98 (kr. 139,95)
Image Cellokonsert
Torleif Thedéen, cello.

Malaysian Philharmonic Orchestra/Kees Bakels.




ANTONÍN DVORÁK

Cellokonsert h-moll, Op 104


kr. 69,98 (kr. 139,95)
Image Jupyra
Rosana Lamosa, sopran

Eliane Coelho, sopran

Mario Carrara, tenor

Phillip Joll, baryton

Sao Paulo Symphony Orchestra/John Neschling.



FRANCISCO BRAGA

kr. 69,98 (kr. 139,95)
Image 1812
Fantastisk tolkning av Tjajkovskijs pampiga orkesterverk "1812", som bl a innehåller riktiga kanonskott.


Bamberg Symphony Orchestra / José Serebrier.




Peter Tjajkovskij


kr. 69,98 (kr. 139,95)
Image Cellokonsert/Symfoni g-moll
Den franske kompositören Édouard Lalo (1823-1892) var under sin levnad kanske mer populär bland tonsättarkollegor än hos den bredare publiken. T ex musiken till baletten "Namouna" blev utbuad vid premiären. Dock lovordades den av samtida kompositörer som Debussy, Chabrier m fl. Ingår på denna CD gör också Lalos fina cellokonsert, mästerligt framförd av den alltid lika lysande Torleif Thedéen.
Torleif Thedéen, cello.Malaysian Philharmonic Orchestra/Kees Bakel.

kr. 69,98 (kr. 139,95)
Image SYMPHONY 3
kr. 69,98 (kr. 139,95)
Image Symfoni nr 2
BBC National Orchestra of Wales/Tadaaki Otaka.


ALEXANDER GLAZUNOV Symfoni nr 2 fiss-moll Op 16

kr. 69,98 (kr. 139,95)
Image Kantater, vol 21
Innehåller för första gången en komplett version av Kantat nr 190, rekonstruerad av Masaaki Susuki.



...tilltalande ljudbild, med särskild omsorg om naturtrogenhet och rumsakustik...

...musikaliskt och tekniskt...i toppklass...(Upsala Nya Tidning)
Robin Blaze, countertenor; James Gilchrist, tenor; Peter Kooy, bas.Bach Collegium Japan / Masaaki Suzuki. Johann Sebastian Bach - Kantater, vol 21 br>Sie werden aus Saba alle kommen BWV 65 Jesus schläft, was soll ich hoffen BWV 81 Erfreute Zeit im neuen Bunde BWV 83 Singet dem Herrn ein neues Lied BWV 190


kr. 69,98 (kr. 139,95)
Image Kantater, vol 22
Samtliga Bach-kantater på denna CD är skrivna 1724 i Lepzig.



...tilltalande ljudbild, med särskild omsorg om naturtrogenhet och rumsakustik...

...musikaliskt och tekniskt...i toppklass...

(Upsala Nya Tidning)
Yukari Nonoshita, sopran; Robin Blaze, countertenor;
Peter Kooy, bas m fl.

Bach Collegium Japan / Masaaki Suzuki.


Johann Sebastian Bach – Kantater, vol 22



O Ewigkeit, du Donnerwort BWV 20



Christ unser Herr zum Jordan kam BWV 7



Was frag ich nach der Welt BWV 94





kr. 69,98 (kr. 139,95)
Image Kantater, vol 23
Yukari Nonoshita, sopran; Matthew White, countertenor;
Makoto Sakurada, tenor; Peter Kooy, bas.

Bach Collegium Japan / Masaaki Suzuki. Johann Sebastian Bach - Kantater, vol 23 >J S Bach

Meine Seel erhebt den Herren BWV 10 Wer nur den lieben Gott läßt walten BWV 93 >Wo Gott der Herr nicht bei uns hält BWV 178 >Was willst du dich betrüben BWV 107

kr. 69,98 (kr. 139,95)
Image MUSICA HOLMIAE
kr. 69,98 (kr. 139,95)
Image Princess of Cyprus
...Det är bara att tacka för all denna kunskap om finsk musikhistoria som fortsätter att välla över oss. Framförandet är utomordentligt på alla vis...

(High Fidelity)




"The Princess of Cyprus" är scenisk musik inspirerad av det finska nationaleposet "Kalevala". Verket är baserat på en pjäs av Zacharias Topelius.
Johan Storgård, talad roll; Tom Wentzel, berättare.Tove Åman, sopran;
Agneta Eichenholtz, mezzosopran;Riikka Rantanen, mezzosopran
Jubilate Choir; Tapiola Sinfonietta / Ulf Söderblom.

kr. 69,98 (kr. 139,95)
Image Kantater, vol 24
...Produktionen håller samma höga kvalitet som vanligt...

(High Fidelity)
Yukari Nonoshita, sopran;
Robin Blaze, countertenor; Gerd Türk, tenor; Peter Kooij, bas.Bach Collegium Japan / Masaaki Suzuki.


Johann Sebastin Bach - Kantater, vol 24
Liebster Gott, wenn werd ich sterben BWV 8 (två versioner)Allein zu dir, Herr Jesu Christ BWV 33>Herr Jesu Christ, du höchstes Gut BWV 113


kr. 69,98 (kr. 139,95)
Image SYMPHONY NO.3
kr. 69,98 (kr. 139,95)
Image Symfoni nr 1 & 6
Här kan vi höra Glazunovs vackra första symfoni, som han skrev endast arton år gammal. Symfonin består till stor del av ryska folkmelodier.



BBC National Orchestra of Wales / Tadaaki Otaka.


Alexander Glazunov




Symfoni nr 1 E-dur Op 5





Symfoni nr 6 c-moll Op 58


kr. 69,98 (kr. 139,95)
Image SCHEHERAZADE / SYMPHONY 2
kr. 69,98 (kr. 139,95)
Image Symfoni nr 4 & 8
Detta är den fjärde volymen i BIS serie med Glazunovs symfonier, de tre tidigare volymerna har följande skivnummer:

BIS 1308 - Symfoni nr 2

BIS 1358 - Symfoni nr 3

BIS 1368 - Symfoni nr 1 & 6
BBC National Orchestra of Wales / Tadaaki Otaka.

Alexander Glazunov

Symfoni nr 4 Ess-dur Op 48


1. I. Andante - Allegro moderato - Andante


2. II. Scherzo. Allegro vivace


3. III. Andante - Allegro





Symfoni nr 8 Ess-dur Op 83


4. I. Allegro moderato


5. II. Mesto


6. III. Allegro


7. IV. Finale. Moderato sostenuto - Allegro moderato



kr. 69,98 (kr. 139,95)
Image Piano Concerto
ARTISTIC QUALITY: 10

SOUND QUALITY: 10


(CLASSICSTODAY.com)



'Sonically these performances remain in a class of their own. The brilliance and realism are simply breathtaking, with a full dynamic range, ideal depth and breadth of soundstage, firm bass, open highs, and a panoramic splendor unrivaled on disc'

(CLASSICSTODAY.com)

Noriko Ogawa, piano.

Malaysian Philharmonic Orchestra / Kees Bakels.




kr. 69,98 (kr. 139,95)
Image Symfoni nr 5 & 7
BBC Music Magazine har bl a skrivit följande om denna serie med Glazunovs kompletta symfonier:



...a necessary installment if you're out to collect a first-rate Glazunov cycle...

BBC National Orchestra of Wales / Tadaaki Otaka.


Alexander Glazunov

Symfoni nr 5 B-dur Op 55

1. I. Moderato maestoso - Allegro

2. II. Scherzo. Moderato

3. III. Andante

4. IV. Allegro maestoso



Symfoni nr 7 Op 77

5. I. Allegro moderato

6. II. Andante

7. III. Allegro maestoso

8. IV. Finale. Allegro maestoso



kr. 69,98 (kr. 139,95)
Image Stravaganze Napoletane
5 AV 5 MÖJLIGA I BETYG UPSALA NYA TIDNING



...Ypperlig musik, mästerligt spelad...

(Upsala Nya Tidning)



...Musikalisk festbuffé för barockälskare...

(Nerikes Allehanda)



Dan Laurin, blockflöjt.

London Baroque.




Stravaganze Napoletane



Francesco Mancini

Sonata XIII g-moll



Sonata II e-moll



Arcangelo Corelli

Fuga con un soggetto solo D-dur



Domenico Sarri

Sonata XI a-moll



Alessandro Scarlatti

Sonata IX a-moll



Francesco Barbella

Sonata III C-dur



Domenico Gallo

Triosonat nr 1 G-dur



John Ravenscroft

Sonata Ottava


kr. 69,98 (kr. 139,95)
Image Kantater, vol 26
Yukari Nonoshita, sopran;
Timothy Kenworthy-Brown, countertenor;

Makoto Sakurada, tenor;
Peter Kooy, bas.

Bach Collegium Japan/Masaaki Suzuki.



Johann Sebastian Bach

1-7. Kantat nr 180 "Schmücke dich, o liebe Seele" BWV180



8-13. Kantat nr 122 "Das neugeborne Kindlein" BWV 122



14-19. Kantat nr 96 "Herr Christ, der einge Gottessohn" BWV 96





kr. 69,98 (kr. 139,95)
Image Världsliga kantater
Här ingår två världsliga kantater - "Bröllopskantaten" och "Kaffekantaten".
Carolyn Sampson, sopran; Makoto Sakurada, tenor;
Stephan Schreckenberger, bas.

Bach Collegium Japan / Masaaki Suzuki.



kr. 69,98 (kr. 139,95)
Image Italiensk konsert
Masaaki Suzuki, cembalo


JOHANN SEBASTIAN BACH

Italiensk konsert, BWV971



Fransk uvertyr h-moll, BWV831



Sonat d-moll, BWV964



kr. 69,98 (kr. 139,95)
Image Holberg Suite
kr. 69,98 (kr. 139,95)
Image Symfoni nr 1 & 3
ARTISTIC QUALITY: 10

SOUND QUALITY: 10


(CLASSICSTODAY.com)



'excellent orchestral playing, with the Malaysian Philharmonic members fully immersed the composer's unique sound world. BIS's spacious, dynamically wide-ranging recording renders the performances with impressive fidelity and sonic impact'

(CLASSICSTODAY.com)



Malaysian Philharmonic Orchestra/Kees Bakels.




Nikolaj Rimsky-Korsakov

Symfoni nr 1 e-moll, Op 1

1. I. Largo assai - Allegro

2. II. Andante tranquillo

3. III. Scherzo

4. IV. Allegro assai



5. Fantasi över serbiska teman, Op 6




Symfoni nr 3 C-dur, Op 32

6. I. Moderato assai - Allegro

7. II. Scherzo

8. III. Andante

9. IV. Allegro con spirito



kr. 69,98 (kr. 139,95)
Image Violin Concerto
In 1878 Édouard Lalo wrote to the Spanish violin virtuoso Pablo de Sarasate: 'Your arrival in my life has been my greatest artistic opportunity... without you, I would have continued to write insignificant odds and ends'. The three works gathered here all spring from this arrival, beginning with the Violin Concerto, composed in 1873. The melodious and charming concerto held a great significance for the composer, who regarded it as his first work truly worthy of the name. In the eye of the public it was soon to be overshadowed, however. The première of Symphonie espagnole, in 1875, was followed by performances all over Europe, always in the expert hands of Sarasate. Neither a symphony nor a concerto, it is rather a five-movement suite in which the soloist and orchestra converse as equal partners. First in a long line of Spanish-themed works by French composers (including Bizet's Carmen, Chabrier's España, Debussy's Iberia and Ravel's Rhapsodie espagnole), it may be regarded as a composer's tribute to his violinist's country of origin. Three years later the Scandinavian accents of Fantaisie norvégienne were possibly the result of an encounter with the Norwegian composer and violinist Johan Svendsen. There is no doubt that Lalo was once more composing with Sarasate in mind, however. He wrote to the violinist: 'I believe that I have succeeded in being amusing without being common... Feel free to add violinistic devilishness if you like.' Whatever liberties Sarasate may have taken with the solo part, the première, conducted by Max Bruch, was again a great success. So great, in fact, that Lalo soon transformed it into a purely orchestral work, without soloist, giving it the title Rapsodie norvégienne. Standing in for Sarasate on the present disc is Jean-Jaques Kantorow, whose recording (on BIS-CD-1470) of Saint-Saëns' Third Violin Concerto - incidentally another work dedicated to Sarasate! - was nominated for both a Gramophone Award and a BBC Music Magazine Award in 2008. Here he receives fine support from the conductor Kees Bakels, his collaborator on the Saint-Saëns disc, and the Granada City Orchestra, of which he himself was the artistic director during the years 2004-2008.




kr. 69,98 (kr. 139,95)
Image Symphonic Dances
Bergen Philharmonic Orchestra / Andrew Litton

The programme on this disc include Rachmaninov's last work, the Symphonic Dances (1941) as well as The Rock, his first published orchestral work, but opens with The Isle of the Dead from 1909. Inspired by the painting of the same name by Arnold Böcklin, Rachmaninov based almost the entire thematic material on the four-note figure which stalks through so much of his music: the first notes of the plainchant setting of the Dies iræ, describing the terrors of the Last Judgement. The motif was Rachmaninov's musical symbol for death - an ever-present spectre, sometimes feared, sometimes welcomed - and it impregnates the whole fabric of The Isle of the Dead. If The Rock, inspired by an image from a short story by Chekhov, is a youthful work by a composer just turned twenty, the Symphonic Dances, written almost 50 years later, sum up a lifetime's musical and emotional experience. The title of the work doesn't reveal a programme of any kind, but when Rachmaninov suggested it to the choreographer Mikhail Fokine as the score for a possible ballet, he explained that its three movements followed the sequence Midday - Twilight - Midnight, possibly a description of life's journey from youth through middle age to old age. Andrew Litton and his Bergen Philharmonic Orchestra have already proven their skills in the Russian repertoire, with recordings of music by Stravinsky ('If you're looking for a freshly painted Petrushka or a Rite to shake you up a bit, this is shockingly good', International Record Review) and Prokofiev ('An exceptional Romeo and Juliet, to be placed right next to the great ones', Crescendo).



kr. 69,98 (kr. 139,95)
Image CLASSICS FOR CH ORC
kr. 69,98 (kr. 139,95)
Image Jephtha
James Gilchrist, tenor
2 CDs FOR THE PRICE OF 1

Mona Julsrud, soprano
Elisabeth Jansson, mezzo-soprano
Håvard Stensvold, baritone
Marianne B. Kielland, mezzo-soprano
Elisabeth Rapp, soprano

Collegium Vocale Gent
Stavanger Symphony Orchestra
Fabio Biondi, conductor

After finishing the chorus 'How dark, O Lord, are thy decrees' in February 1751, Handel noted in the autograph score that he couldn't continue his work on Jephtha because of eye problems. Later in the year, he regained his eyesight and was able to complete the work in the autumn. The problems returned however, and in January 1753 a London newspaper reported that 'Mr Handel has at length, unhappily, quite lost his sight'. Jephtha was thus to become Handel's last oratorio, and indeed his last major work. It is nevertheless no less a masterpiece than his earlier works, and contains some of his noblest music. The plot of this 'Sacred Drama' is loosely based on the story of Jephtha in the Old Testament: a father who in order to win the the Israelites' struggle against the Ammonites makes a rash promise to God, and after his victory is compelled to sacrifice his own daughter. The situation gives rise to music of touching poignancy, as well as great choral set-pieces. This rousing live performance, recorded in 2008 in the Stavanger Concert Hall, boasts a roster of soloists headed by the fine British tenor James Gilchrist as Jephtha, as well as the eminent Belgian choir Collegium Vocale Gent, all backed up by the Stavanger Symphony Orchestra. At the helm of these large forces is Fabio Biondi, the Baroque violinist and conductor who since 2005 has been artistic director of the Stavanger orchestra in the baroque and classical repertoires.




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Image MIROIRS/TOMBEAU DE COUPERIN
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Image Concertos for Flute and Recorder
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Image FLUTE CONCERTOS
kr. 69,98 (kr. 139,95)
Image Symphonies Nos. 1 & 2 (SACD)
On the final disc of a complete cycle, Thomas Dausgaard and the Swedish Chamber Orchestra offer us their readings of Franz Schubert's first two symphonies.

kr. 69,98 (kr. 139,95)
Image Violin Concertos Nos. 3 & 5
kr. 69,98 (kr. 139,95)
Image CONC FOR 2 BN /SINF
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Image CONCERT AR
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Image SYMPHONY 2/LEGENDARY 6
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Image English Consort Music
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Image COMPLETE SYMPHONY VOL 2/SYM 1
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Image SYMPHONY 1 /BALALAIKA CONC
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Image COMPLETE SYMPHONY VOL 3 /SYM 2
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Image COMPLETE SYMPHONY VOL 4 /SYM 5
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Image SYMPHONY 1/SPRING 2 ORC MAHLE
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Image SYMPHONY 5 6 /OV ITALIAN STYLE
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Image SYMPHONY 3 & 4 ORCESTRA MAHLER
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Image SLAVONIC DANCES OP46 OP72
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Image 10 LEGENDS /JANACEK SINF
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Image SYMPHONY 7/8
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Image SYMPHONY 3 4 /OV ITALIAN STYLE
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Image SYMPHONY 1 /PROMETHEUS
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Image SYMPHONY 2 /REVERIE
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Image SYMPHONY IN E MAJ
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Image Complete Double Concertos with Recorder
Penelope Evison, traversflöjt

Clas Pehrsson, blockflöjt

Dan Laurin, blockflöjt

Michael McCraw, fagott

Olof Larsson, gamba

Drottningholms Barockensemble.



GEORG PHILIPP TELEMANN

Dubbelkonsert F-dur för blockflöjt, fagott och stråkorkester

1. I. Largo

2. II. Vivace

3. III. (Grave)

4. IV. Allegro



Dubbelkonsert B-dur för två blockflöjter och stråkorkester

5. I. Grave

6. II. Vivace

7. III. Tendrement

8. IV. Gayment



Dubbelkonsert a-moll för blockflöjt, gamba och stråkorkester

9. I. Grave

10. II. Allegro

11. III. Dolce

12. IV. Allegro



Dubbelkonsert a-moll för två tenorblockflöjter och stråkorkester

13. I. Gravement

14. II. Vistement

15. III. Largement

16. IV. Vivement



Dubbelkonsert e-moll för blockflöjt, traversflöjt och stråkorkester

17. I. Largo

18. II. Allegro

19. III. Largo

20. IV. Presto



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Image SYMPHONY 5 ARR TANEYEV & EXC
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Image SYMPHONY 9
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Image COMPLETE STRING SYMPHONY VOL 1
kr. 69,98 (kr. 139,95)
Image STRAUSS FAMILY RARITIES
kr. 69,98 (kr. 139,95)
Image COMPLETE STRING SYMPHONY VOL 2
kr. 69,98 (kr. 139,95)
Image SYMPHONIES 1 & 2
kr. 69,98 (kr. 139,95)
Image SYMPHONY 1 /INTRO
kr. 69,98 (kr. 139,95)
Image COMPLETE STRING SYMPHONY 3
kr. 69,98 (kr. 139,95)
Image ALADDIN OV /THEATRE MUSIC
kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 1
ARTISTIC QUALITY: 10

SOUND QUALITY: 10


(CLASSICSTODAY.com)



Yumiko Kurisu, soprano

Akira Tachikawa, countertenor

Koki Katano, tenor

Peter Kooij, bass

Bach Collegium Japan/Masaaki Suzuki
Johann Sebastian Bach

Cantata No.4, Christ lag in Todesbanden, BWV 4 (Kantate am 1. Osterfeiertag)

1. I. Sinfonia

2. II. (Coro) Versus I: Christ lag in Todesbanden

3. III. Duetto (soprano, alto) Versus II: Den Tod niemand zwingen kunnt

4. IV. Aria (tenore) Versus III: Jesu Christus, Gottes Sohn

5. V. (Coro) Versus IV: Es war ein wunderlicher Krieg

6. VI. Aria (basso) Versus V: Hier ist das rechte Osterlamm 2

7. VII. Duetto (soprano, tenore) Versus IV: So feiern wir das hohe Fest

8. VIII. Choral (coro) Versus VII: Wir essen und leben wohl



Cantata No.150, Nach dir, Herr, verlanget mich, BWV 150

9. I. Sinfonia

10. II. Coro: Nach dir, Herr, verlanget mich

11. III. Aria (soprano): Doch bin und bleibe ich vergnügt

12. IV. Coro: Leite mich in deiner Wahrheit

13. V. Aria (Terzetto:alto, tenore, basso): Zedern müssen von den Winden

14. VI. Coro: Meine Augen sehen stets zu dem Herrn

15. VII. Ciacona. Coro: Meine Tage in dem Leide



Cantata No.196, Der Herr denket an uns, BWV 196 (Trauungskantete)

16. I. Sinfonia

17. II. Coro: Der Herr denket an uns

18. III. Aria (soprano): Er segnet, die den Herrn fürchten

19. IV. Duetto (tenore, basso): Der Herr segne euch

20. V. Coro: Ihr seid die Gesegneten des Herrn



kr. 69,98 (kr. 139,95)
Image AFRICA /SYM 2
kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 4
kr. 69,98 (kr. 139,95)
Image CHORAL WORKS
kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 5
kr. 69,98 (kr. 139,95)
Image SACRED CHORAL MUSIC
kr. 69,98 (kr. 139,95)
Image Capriccio for violin and orchestra
kr. 69,98 (kr. 139,95)
Image MEMBRA JESU NOSTRI
kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 7
kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 8
kr. 69,98 (kr. 139,95)
Image Symfoni nr 1 & 3
10/10 CLASSICSTODAY.COM


Malmö Symfoniorkester/Thomas Sanderling.



ALBÉRIC MAGNARD

Aymfoni nr 1 c-moll Op 4

1. I. Strepitoso - Andante - Allegro marcato - Andante

2. II. Religioso. (Largo) - Andante - Largo

3. III. Presto

4. IV. Molto energico - Meno mosso - 1-er Tempo - Largo



Symfoni nr 3 b-moll Op 11

5. I. Introduction et ouverture

6. II. Danses

7. III. Pastorale. Modéré

8. IV. Finale



kr. 69,98 (kr. 139,95)
Image Symphonies Nos.2 & 4
10/10 Classicstoday.com
Cannes Classical Award 2001

Malmö SymfoniOrkester / Thomas Sanderling


kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 9
kr. 69,98 (kr. 139,95)
Image SYMPHONY 9
kr. 69,98 (kr. 139,95)
Image Cello Concertos Nos. 1 & 2
kr. 69,98 (kr. 139,95)
Image Symphonies Nos. 6 & 9
4 AV 5 MÖJLIGA I BETYG I HIFI & MUSIK

"Dausgaard har uppenbar känsla för såväl känsloglöden som lekfullheten hos Dvorak, och orkestern spelar hur bra som helst med utsökta soloinsatser av t.ex. Lisa Almberg på engelskt horn"
(Nerikes Allehanda)"Kammarorkestern imponerar..."(Norrköpings Tidningar)

kr. 69,98 (kr. 139,95)
Image Violin Concertos
...As for the ripieno, one could not ask for better, and they are recorded in perfect balance with the soloists...

(Gramophone)



...Ryo Terakado...weaves intimate magic with Bach Collegium Japan...

(BBC Music Magazine)



Ryo Terakado, violin;
Natsumi Wakamatsu, violin;

Marcel Ponseele, oboe;
Masaaki Suzuki, cembalo.

Bach Collegium Japan/Masaaki Suzuki.


Johann sebastian Bach

Konsert för två violiner och stråkar d-moll BWV1043

1. I. Vivace

2. II. Largo ma non tanto

3. III. Allegro



Violinkonsert a-moll BWV1041

4. I. (-)

5. II. Andante

6. III. Allegro assai



Violinkonsert E-dur BWV1042

7. I. (Allegro)

8. II. (Adagio)

9. III. Allegro assai



Konsert för oboe, violin och stråkar c-moll


10. I. Allegro

11. II. Adagio

12. III. Allegro



kr. 69,98 (kr. 139,95)
Image CANTATAS VOL 11
kr. 69,98 (kr. 139,95)
Image Piano Concerto / Symphony / In Autumn
I denna första volym i BIS serie med Griegs kompletta orkestermusik spelar Bergens Filharmoniska Orkester, som Grieg ledde under en tid, "Symfoni c-moll" och "På Hösten". Ingår gör också pianokonserten, med sin vackra andra sats, med Noriko Ogawa som solist.
Noriko Ogawa, piano.

Bergen Philharmonic Orchestra / Ole Kristian Ruud.


kr. 69,98 (kr. 139,95)
Image Norwegian Dances
Innehåller bl a Griegs charmiga Norska danser Op 35. Här kan vi höra Griegs "egna" orkester Bergen Philharmonic Orchestra.

Bergen Philharmonic Orchestra / Kristian Ruud.


Edvard Grieg



Norska danser Op 35



Symfoniska danser Op 64



Lyrisk svit Op 54




kr. 69,98 (kr. 139,95)
Image Sigurd Jorsalfar
I denna volym, som ingår i BIS serie på SACD med Griegs kompletta orkesterverk, medverkar Håkan Hagegård på flera spår.


Håkan Hagegård, baryton; Gørild Mauseth, berättare.

Medlemmar ur Bergen Philharmonic Choir (manskör); Seim Songkor; Kor Vest; Bergen Philharmonic Orchestra / Ole Kristian Ruud.

Edvard Grieg



Sigurd Jorsalfar Op 22



Landkjenning Op 31



Bergliot Op 42



Sørgemarsj over Rikard Nordraak EG 117
(orkesterarrangemang: Johan Halvorsen)




Den Bergtekne Op 32


kr. 69,98 (kr. 139,95)
Image Orchestral Suites Nos. 1-4
BETYG: *****
LJUDKVALITET: ******

(Opus)

"...framförandet kan man bara häpna över"
"...här finns inget negativt att anföra"
(Opus)
Bach Collegium Japan/Masaaki Suzuki.
Johan Sebastian Bach

Orkestersvit nr 1 C-dur BWV1066



Orkestersvit nr 2 h-moll BWV1067



Orkestersvit nr 3 D-dur BWV1068



Orkestersvit nr 4 D-dur BWV1069


kr. 69,98 (kr. 139,95)
Image Kantater, vol 30: Alles mit Gott
...Sampsons änglasopran och den transparenta orkesterbehandlingen gör ett starkt intryck...

(Upsala Nya Tidning)



Ingår gör här den första KOMPLETTA inspelningen av Bacharian "Alles mit Gott". Denna aria upptäcktes i juni 2005.

Carolyn Sampson, sopran.

Bach Collegium Japan/Masaaki Suzuki.


Johann sebastian Bach

Jauchzet Gott in allen Landen, BWV51



Alles mit Gott und nichts ohn’ ihn, BWV1127



Aria: Spielet, ihr beseelten Lieder ur O holder Tag, erwünschte Zeit, BWV210


kr. 69,98 (kr. 139,95)
Image Kantater, vol 32
BETYG: ******
LJUDKVALITET: *****

(Opus)
Yukari Nonoshita, sopran

Robin Blaze, countertenor

Andreas Weller, tenor

Peter Kooij, bas

Bach Collegium Japan/Masaaki Suzuki


JOHANN SEBASTIAN BACH

Was mein Gott will, das g’scheh allzeit, BWV111



Liebster Immanuel, Herzog der Frommen, BWV123



Meinen Jesum laß ich nicht, BWV124



Mit Fried und Freud ich fahr dahin, BWV125




kr. 69,98 (kr. 139,95)
Image Symphonies Nos. 3 & 8
VALD TILL EN AV ÅRETS BÄSTA SKIVOR 2006 I DAGENS NYHETER


ARTISTIC QUALITY: 10

SOUND QUALITY: 10


(CLASSICSTODAY.com)



...Vänskäs grepp om musiken har en fräschör, en självklar modernitet, ja en befriande oskuld i förhållande till alla tunga traditioner, som Beethoven-tolkare brukar släpa på...

(Arbetarbladet)






Den första volymen i BIS-serien med Beethovens samtliga symfonier med Osmo Vänskä och Minnesota Orchestra har fått fantastiska recensioner. Bl a utsågs den till GRAMOPHONE EDITOR'S CHOICE. På denna andra volym kan vi höra en lika fantastisk tolkning av Beethovens tredje symfoni, den s k "Eroicasymfonin".



Minnesota Orchestra/Osmo Vänskä
LUDWIG VAN BEETHOVEN

Symfoni nr 3 Ess-dur Op 55 "Eroica"

I. Allegro con brio

II. Marcia funebre. Adagio assai

III. Scherzo. Allegro vivace

IV. Finale. Allegro molto – Poco andante – Presto



Symfoni nr 8 F-dur Op 93

I. Allegro vivace e con brio

II. Allegretto scherzando

III. Tempo di Menuetto

IV. Allegro vivace

kr. 69,98 (kr. 139,95)
Image Olav Trygvason/Orkestersånger
...Marita Solberg får fram all tänkbar fräschör i de sex orkestersångerna...

(Dagens Nyheter)



Grieg is mainly thought of as one of the great lyrical composers, but for a long time he struggled to develop a dramatic side to his music. One result was the three scenes from the projected opera Olav Trygvason, a collaboration with the poet Bjørnstjerne Bjørnson. Grieg and Bjørnson wanted to develop a national, Norwegian opera, avoiding the Wagnerian influences predominant at the time. Nevertheless, as the Olav Trygvason fragment shows and as Grieg himself admitted, Wagner's pull was too strong to be entirely resisted; perhaps understandably, given that the subject matter - the struggle of the old Norse Gods and their followers against the Christian faith - is rather Wagnerian in itself.



Another Bjørnson collaboration, At the Cloister Gate, is also operatic in conception, but in a musical language more clearly Grieg's own. The disc continues with the Six Orchestral Songs, in which the composer is firmly back on familiar ground. These were orchestrated by Grieg himself, not with the intent to form a cycle, but simply because he himself rated them highly: from Solveig's two intensely moving songs from Peer Gynt to Last Spring, sometimes regarded as one of Grieg’s finest songs.



The songs - including Johan Halvorsen's orchestration of Ved Rondane - are interpreted by soprano Marita Solberg, one of Norway's most promising young singers. Other eminent soloists include Solveig Kringelborn and Ingebjørg Kosmo, who join the Bergen PO and Ole Kristian Ruud on this the final disc in the team's acclaimed Grieg survey. Reviewers have focused on the familiarity of the interpreters with the music (Gramophone: 'Bergen musicians have lived with these scores since their creation and all the performances here have a relaxed, idiomatic naturalness in their virtuosity’) as well as the superior recordings, all done in surround sound and released as Hybrid SACDs (BBC Music Magazine: 'The engineering, whether heard via SACD (surround and stereo options) or CD stereo, is exemplary in every way, conveying the warm acoustic of Bergen's Grieg Hall with thrilling presence.')


Solveig Kringelborn, soprano; Ingebjørg Kosmo, mezzo-soprano; Trond Halstein Moe, baritone; Marita Solberg, soprano

Bergen Philharmonic Choir; Kor Vest (Bergen Vocal Ensemble); Voci nobili; Bergen Philharmonic Orchestra / Ole Kristian Ruud


Edvard Grieg

Olav Trygvason, opera fragment, Op.50



Foran Sydens Kloster (At the Cloister Gate), Op.20



Six Songs with Orchestra (Solveig’s Song · Solveig’s Cradle Song · From Monte Pincio · A Swan · Last Spring · Henrik Wergeland)



Ved Rondane (In the Hills), Op.33 No.9 (arr. Johan Halvorsen)



kr. 69,98 (kr. 139,95)
Image Kantater, vol 33
'Consistently outstanding performances, musical beyond belief, and worthy of any collection' (MusicWeb International); 'Yet again a fine achievement, striking the right balance between deep contemplation and freshness of approach.' (International Record Review); 'The same thrillingly high standard as the whole series.' (Pizzicato); 'Suzuki and his Bach Collegium Japan continue to overwhelm us.' (Classica-Répertoire) – the list could go on and on! These quotes from all over the world apply to Volume 28 of Bach Collegium Japan's Cantata cycle, but the reception has repeated itself throughout this series. On the present, 33rd instalment Masaaki Suzuki has chosen to open with a jubilant New Year cantata, Jesu, nun sei gepreiset, first performed on 1 January 1725. Only a few weeks later BWV 92 was performed, exhorting the congregation of Bach's Thomaskirche in Leipzig to surrender to God’s will and God’s hand. In this unusually long cantata Bach pays special attention to creating variety, and illustrates the text with powerful musical images. The closing cantata is BWV130, composed for Michaelmas – a feast day in celebration of the Archangel Michael and all angels. Again a festive work, in which trumpets and timpani play an important part, notably in the bass aria ‘Der alte Drache brennt’, a display piece in which the trumpets play as if in combat with the ‘old dragon’. Here we also hear German bass singer Dominik Wörner, who with this disc makes a fortuitous début with the Bach Collegium Japan. He is joined by Jan Kobow, tenor, who has appeared before in the cycle, and regular soloists Yukari Nonoshita, soprano, and Robin Blaze, counter-tenor.



Please note: The music on this Hybrid Super Audio CD can be played back in Stereo (CD and SACD) as well as in 5.0 Surround sound (SACD).

Yukari Nonoshita, soprano

Robin Blaze, counter-tenor

Jan Kobow, tenor

Dominik Wörner, bass

Bach Collegium Japan/Masaaki Suzuki

Johann Sebastian Bach

Jesu, nun sei gepreiset, BWV41



Ich hab in Gottes Herz und Sinn, BWV92



Herr Gott, dich loben alle wir, BWV130



kr. 69,98 (kr. 139,95)
Image Lied von der Erde, Das (in Chinese)
The poems that in 1908 inspired Mahler to Das Lied von der Erde had been printed a year earlier in Hans Bethge's Die chinesische Flöte ('The Chinese Flute'). But they had already before that travelled huge distances in both time and space. Hans Bethge's poems were in fact paraphrases of Hans Hellmann's 1905 collection Chinesische Lyrik, which itself was based on French translations of 8th century Tang dynasty poems. The Hongkong-based enthusiast Daniel Ng has now, through untiring research, established the most likely sources of Bethge's poems, and prepared a Chinese Song of the Earth, replacing the German texts with the original Chinese poems. The result, soon to be published, has been recorded with the Singapore Symphony Orchestra conducted by Lan Shui, and the Chinese-born international stars Ning Liang and Warren Mok singing the texts by Li Bai, Wang Wei and other Tang master poets. During their long-standing collaboration, the SSO and Lan Shui have been tireless in promoting Chinese and Asian composers, an undertaking that on disc has born fruit in recordings of works by Zhou Long, Chen Yi and Bright Sheng. The team's imaginative approach to programming has also resulted in discs such as the recent Seascapes, with sea-depictions by among others Frank Bridge and Debussy. This release was greeted warmly by the reviewers, and the SSO/Shui interpretation of La mer was described as 'an unequivocally world-class performance' in the BBC Music Magazine. Now, with the present disc, another masterpiece from the early 20th century gets the Singapore treatment!




kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 34
BETYG: *****
LJUDKVALITET: *****

(Opus)

The label ‘a musical universe’ fits Bach’s church cantatas perfectly not only on account of their sheer numbers, but also because they – the restraints of the genre notwithstanding – contain an amazing variety of moods, timbres and styles. In 33 previous volumes comprising 114 cantatas Masaaki Suzuki and his Bach Collegium Japan have been guiding us through this universe, to the acclaim of both collectors and reviewers. In Classic FM Magazine, the reviewer wrote of Volume 29: ‘The sheer polish and technical accomplishment of the music-making immediately hold the ear, and are reinforced by subtle phrasing and a quality of listening among all concerned that allows Bach’s counterpoint to progress with lightness and jaw-dropping clarity. Suzuki’s ongoing cantata cycle gets better with each release.’ Volume 31 was greeted in a similarly rapturous manner by the reviewer on the web site MusicWeb International, who concluded: ‘This disc is a perfect introduction to this wonderfully rich repertoire, truly music’s greatest treasure trove.’ The three cantatas on Volume 34, the present disc, were first performed in February and March 1725, in the Thomaskirche in Leipzig, where Bach was employed. The first one, Wie schön leuchtet der Morgenstern, was composed for the Feast of the Annunciation, and celebrates the joyous news brought to Mary of the coming birth of Christ in a suitably jubilant manner. A particular feature is the unusual scoring – as well as a string orchestra there are two horns, two oboi da caccia (i.e. alto oboes) and two solo violins. BWV126 (Erhalt uns, Herr, bei deinem Wort) is in a rather more dramatic vein, with its exhortation to God to support mankind against the enemies of the faith. The recitative ‘Der Menschen Gunst und Macht’ for alto and tenor is particularly noteworthy: Bach has cast the entire movement in the form of a dialogue, creating a fusion of recitative, arioso and chorale that is without equal in its era. The disc ends on a more resigned note with BWV127, based on a hymn which is in fact a song of death, ending with a plea for the forgiveness of sins. The soprano aria ‘The soul will rest in Jesus’ hands’ combines a certainty of belief and a longing for death are combined in one of Bach’s most beautiful and individual cantata movements, and the simple four-part final chorale concludes with an exquisite sequence of harmonies that lends a dreamlike quality to the words ‘until we slumber blessedly’.


Carolyn Sampson, soprano; Robin Blaze, counter-tenor;
Gerd Türk, tenor; Peter Kooij, bass

Bach Collegium Japan/Masaaki Suzuki
Johann Sebastian Bach

Wie schön leuchtet der Morgenstern, BWV1



Erhalt uns, Herr, bei deinem Wort, BWV126



Herr Jesu Christ, wahr’ Mensch und Gott, BWV127


kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 35
The four cantatas on this disc were all first performed in Leipzig in 1725, during the month of May. Just a few weeks earlier, for reasons unknown, Bach had been forced to abandon his projected chorale cantata cycle, in which each cantata for an entire church year was to focus on the text of a well-known hymn, rather than the gospel reading for the relevant day. He now had recourse to the help of the Leipzig poetess Mariane von Ziegler (1695-1760), who apparently wrote the texts of these cantatas especially for the occasion. They – and the music itself – are meditations on biblical events such as the ascension of Christ and the outpouring of the Holy Spirit on Whit Sunday.



Recent instalments in the Bach Collegium Japan cantata cycle have received the same high praise as the entire series. The German web site Klassik Heute summed it up in its review of Volume 32 (BIS-SACD-1501): ‘Once more there is cause to extol the by now well-accustomed merits of Masaaki Suzuki’s complete cycle of Bach cantatas: a profound knowledge of style, a multifaceted art of phrasing, and perfectly-judged choices of tempo and musical character have been the distinguishing features of this series since its inception.’ The same disc caused klassik.com, another German web site, to exclaim: ‘You don’t need to have volumes 1-31 – this disc can stand on its own as yet another completely successful Bach interpretation.’ The following volume (Volume 33, BIS-CD-1541) was made Disc of the Month in BBC Music Magazine, whose reviewer wrote: ‘Suzuki responds magnificently to the musical challenges, and his Bach Collegium to the staggering technical demands… The Bach Collegium chorus, just eight voices in addition to the soloists, contributes to the clarity of texture. Every contrapuntal line is distinctive – a tribute, too, to the sound engineering.’


Yukari Nonoshita, soprano

Robin Blaze, counter-tenor

Makoto Sakurada, tenor

Peter Kooij, bass

Bach Collegium Japan/Masaaki Suzuki

Johann Sebastian Bach

Auf Christi Himmelfahrt allein, BWV128


Es ist ein trotzig und verzagt Ding, BWV176


Bisher habt ihr nichts gebeten in meinem Namen, BWV87


Wer mich liebet, der wird mein Wort halten, BWV74



kr. 69,98 (kr. 139,95)
Image Symphonies Nos. 1 & 4
Mendelssohn is sometimes thought of as someone to whom composing came easily. This assumption arises partly from the fact that he was a child prodigy: he was only fifteen when he composed his First Symphony, by which time he had already written twelve string symphonies. The main reason, however, is that much of Mendelssohn's best music is so unforced, has such a natural flow, that - as Schumann once remarked - 'one entirely forgets the tangible means, the tools that he uses'. One such work is Symphony No. 4, widely known as the 'Italian' and one of Mendelssohn's most loved compositions - but also a work that seems to have caused its creator untold worries. Although it received an ecstatic welcome on its first performance in London in 1833, Mendelssohn could not bring himself to have it published, planning instead to revise it but in the end hiding it away in a drawer. A similar fate befell the Ruy Blas overture, written for a play by Victor Hugo that, after reading it, Mendelssohn described as 'quite horrible and beneath all dignity... to an extent that you would not believe'. He was nevertheless pleased with his overture to the play - but again he would not let it be published during his lifetime, an indication of a self-criticism which hardly rhymes with the idea of him as a carefree composer. The Bergen Philharmonic Orchestra and Andrew Litton began their cycle of Mendelssohn's symphonies with Symphony No. 2 'Hymn of Praise'. Described as 'suitably glowing' by the reviewer in Financial Times, and 'alert and vigorous' in BBC Music Magazine, that disc is here being followed by the second instalment from the Bergen team.




kr. 69,98 (kr. 139,95)
Image Symphonies Nos. 3 & 5
Celebrating the 200th anniversary of Felix Mendelssohn's birth in 1809, Bergen Philharmonic Orchestra and their music director Andrew Litton have recorded a three-disc survey of the composer's symphonies. This final disc in the series opens with the 'Scottish' Symphony (No. 3), conceived during the composer's visit to what was at the time regarded as the Romantic retreat par excellence, celebrated in literature as the retreat of solitary heroes amid the rugged Highland scenery. From Edinburgh he wrote to his parents: 'At dusk we went today to the palace where Mary Stuart lived and loved... Everything there lies rotten and in ruins; the clear daylight shines right in. I think that today I found the beginning of my Scottish Symphony.' It would take him many years to complete what was begun that day in 1829, however for the symphony was not ready until 1842 - actually more than 12 years after the 'Reformation' Symphony, even though this carries a higher opus number. The reason for this confusing state of affairs is that Mendelssohn was less than happy with the work he wrote for the 1830 celebrations of the Lutheran Reformation, and therefore refused to let it be published in his lifetime. Both works contain references to their stated subjects - the Scottish-sounding 'folk tune' in the finale of the Third Symphony, the use of Luther's chorale 'Ein' feste Burg' in that of the Fifth - but they also share the musical lightness of touch and the inventiveness that have made Mendelssohn a favourite with concert audiences for close to two centuries. These qualities are mirrored in the performances of Litton and the Bergen PO, whose recording of Symphony No. 2, 'Lobgesang', earlier this year was described in a review in Financial Times as 'suitably glowing', with its emphasis 'on mercurial invention and spontaneity'.


kr. 69,98 (kr. 139,95)
Image Four Seasons, The
5 AV 6 MÖJLIGA I BETYG I SVENSKA DAGBLADET

BETYG: ******
LJUDKVALITET: ******

(Opus)

Dan Laurin tolkar här på ett personligt sätt ett av de mest kända klassiska verken - Vivaldis "Fyra årstiderna". Laurin får med sin genuina musikalitet verkligen fram surrande insekter, sommarregn, stormar etc på ett alldeles magnifikt sätt. Han ackompanjeras av den polska ensemblen Arte dei Suonatori.
Dan Laurin, blockflöjt

Arte dei Suonatori

ANTONIO VIVALDI

Fyra årstiderna

La Primavera

L’Estate

L’Autunno

L’Inverno



Konsert D-dur för stråkar RV124

Konsert G-dur för blockflöjt och stråkar RV437

Konsert c-moll för blockflöjt och stråkar RV441


kr. 69,98 (kr. 139,95)
Image Symphonies, The
4 AV 5 MÖJLIGA I BETYG I GÖTEBORGS-POSTEN

"Carl Maria von Weber, Friskyttens skapare, är ett av den tyska romantikens verkliga genier. Som få andra klingar hans verk av själva idén om skogslandskapet, med hornsignalerna som berättar om det akustiska rummets vidsträckthet. Så varför spelas inte denna frihetsdoftande musik oftare? På denna eminenta inspelning framför Tapiola Sinfonietta under dirigenten Jean-Jacques kantorow två av Webers symfonier, komponerande 1807-08, och dessutom två verk för fagott och orkester från ungefär samma tid, med Jaakko Luoma som solist. Så fräscht det låter, så utforskande och lyssnande, och just så blir musikens rum ett naturens rum med wienklassicismens melodier vandrande ut i det fria."
(Göteborgs-Posten)

The Tapiola Sinfonietta has recorded a number of highly acclaimed discs for BIS spanning a repertoire from Rautavaara, Pärt and Shostakovich to Saint-Saëns and Mozart. On one of the orchestra's most recent releases, under conductor Jean-Jacques Kantorow, the programme was centred on the clarinet concertos by Carl Maria von Weber, with Martin Fröst as soloist. The orchestra's contribution to the much-praised result was noticed by the reviewers, as witness the following description on website classicstoday.com: 'perfect accompaniments: swift, sensitive, texturally transparent, and rhythmically snappy'. On the present disc Tapiola Sinfonietta and Kantorow revisit Weber, again focussing on works by the young composer, from before the fame that the opera Der Freischütz would bring. The two symphonies - the only works in the genre that Weber composed - were written in the space of six weeks around New Year 1808, while Weber were staying at the court of the Count of Württemberg-Öls in Carlsruhe (nowadays Pokój in Poland). Their scoring reflects the forces available in the Count's orchestra: apart from strings and timpani Weber could call upon a flute, two oboes, two bassoons, two horns and two trumpets. We may assume that the wind players were of exceptional quality, as these works offer them plenty of opportunities to show off. The symphonies also bear witness to the period of transition from classicism to romanticism, particularly in terms of orchestral colour. The two works for bassoon and orchestra included on the disc were composed a few years later, specifically for Georg Friedrich Brandt, bassoonist in the Munich Court Orchestra. They are here performed by Jaakko Luoma, the principal bassonist of the Tapiola Sinfonietta, who gives them their full measure of both flamboyant virtuosity and lyric songfulness .




kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 39
After two volumes concentrating on solo cantatas, the full forces – including the splendid choir – of Bach Collegium Japan return in this programme of five cantatas dated 1725. The choir instantly makes its presence felt in the first movement of the opening work, BWV68. This is a large-scale hymn arrangement, where the choir is supported by an orchestra including horn and oboes. This is followed by one of the most charming and beautiful soprano arias in all of Bach’s cantatas, ‘Mein gläubiges Herze’, in which Carolyn Sampson shines. The five works all include various more or less unusual instrumental combinations, from the three recorders which lend a pastoral character to Er rufet seinen Schafen mit Namen, BWV175, to the wind quartet (two oboi d’amore and two oboi da caccia) appearing in Sie werden euch in den Bann tun, BWV183. The variety of timbres is further aided by the appearance of the cornet and trombones of Concerto Palatino, as well as that of Dmitry Badiarov performing the important and soloistic parts for violoncello piccolo on his own reconstruction of a violoncello ‘da spalla’ (‘of the shoulder’). Apart from Carolyn Sampson, the vocal soloists are Gerd Türk, who glows in the intensely melodic tenor aria ‘Seht, was die Liebe tut’ (from BWV 85), Peter Kooij, whose bass becomes the voice of Christ in Ich bin ein guter Hirt, (BWV85), and Robin Blaze having a fine moment in the expressive alto aria Komm, leite mich (BWV175). All in all, another impressive instalment in this highly acclaimed cycle.




kr. 69,98 (kr. 139,95)
Image Symphony No. 9
OPUS REKOMMENDERAR

The love affair between Alan Gilbert and the Royal Stockholm Philharmonic Orchestra began in December 1997 with a performance of Mahler's First Symphony. In 2000 Gilbert became chief conductor and artistic advisor of the orchestra, remaining in that post until 2008 - a period which has been described as 'a golden age' in the history of the orchestra. For his farewell concert as chief conductor, Gilbert chose to close the chapter by performing Mahler's last symphony, No. 9 in D major, and the present recording was made in conjunction with this very special occasion. It was a fitting choice of repertoire in another respect as well: Mahler composed his Ninth in 1909-10, after having accepted the post of music director of the New York Philharmonic, the very orchestra that Gilbert now goes on to take charge of. The symphony is often regarded as the composer's monumental - both in terms of scale and emotional scope - leave-taking of the world. In his insightful liner notes, Arnold Whittall acknowledges the difficult circumstances in Mahler's personal life at the time of composition, but rather than nostalgia he finds in it a momentum propelling the symphonic genre far into the future: 'Mahler's Ninth is one of the crowning glories of symphonic history, and many would argue that it has only rarely been equalled, and probably never surpassed, in the century since its completion.'




kr. 69,98 (kr. 139,95)
Image Symphony No. 2 / Vocalise
The catastrophic première of his First Symphony in 1897 had been a terrible blow to Rachmaninov, and led to a three-year period of almost complete creative paralysis. By 1906 he had summoned up the courage for a new attempt in the genre, however, and now the reception was completely different: it was to great acclaim Rachmaninov conducted the first performance in St Petersburg in 1908. The Second Symphony contains the very best of Rachmaninov: deliberately paced and rhythmically flexible it is propelled by that wonderful sense of melodic expansion of which he was such a master. With a playing time of an hour, the main criticism made against the work over the years has concerned its epic dimensions. It is this monumental work that Lan Shui and his Singapore Symphony Orchestra have chosen to record as a celebration of the orchestra's 30th anniversary. Founded in 1979 the SSO has become an important musical force in Asia, but is also gaining international recognition from its high-profile tours and its releases on BIS. Under Lan Shui, its music director since 1997, the orchestra has recorded a wide range of works, such as an acclaimed series of Alexander Tcherepnin's symphonies and piano concertos, as well as music by composers Zhou Long, Chen Yi and Bright Sheng. But the SSO discography also includes core orchestral works, such as Debussy's La Mer (on BIS-SACD-1447), in an interpretation which was highly praised on its release: the reviewer in BBC Music Magazine found it 'an unequivocally world-class performance of Debussy's masterpiece...' while his counter-part in American Record Guide reported it to be 'the most astounding, effective, and beautiful recording of La Mer I have ever heard.' The French website Opus Haute Définition, finally, gave the disc a special commendation, claiming that Lan Shui's interpretation of La Mer possesses 'a rare narrative force. With him the sea recovers its tangible depths without forsaking any of its poetic effects.'




kr. 69,98 (kr. 139,95)
Image Roman Trilogy
São Paulo Symphony Orchestra / John Neschling

Ottorino Respighi's Roman Trilogy (the tone poems Pines of Rome, Fountains of Rome and Roman Festivals) holds a very special place in the orchestral repertory, challenging almost any other composition for sheer sonic audience appeal. Spectacular scenes such as Fontana di Trevi in the glitter of the mid-day sun, children playing under the pine-trees of the Villa Borghese or gladiators fighting at Circus Maximus provided the masterly orchestrator with the opportunity to employ the full palette of the large-scale symphony orchestra, to which he added various instruments, including organ, piano, celesta, glockenspiel, mandolin and tambourines. In fact, in the third part of the Pines of Rome Respighi went even further and specified, for the first time ever in classical music, the use of a gramophone, playing a recording of a nightingale singing. As a result, these works glitter, shimmer, blare and thunder: a true feast for the ear which here has found worthy exponents in the São Paulo Symphony Orchestra (OSESP) and John Neschling. Previous releases by this team include recordings of music by Villa-Lobos and his Brazilian colleagues Camargo Guarnieri, Francisco Mignone and Claudio Santoro, and individual discs have been described by reviewers as 'the most vibrant, colorful, rhythmically vital and virtuosic performances imaginable' (on website Classics Today.com), 'an orgy of colours and rhythms' (in Diapason), and 'an assured blend of lush colours, pulsating rhythms and supple phrasing' (in International Record Review.) Such qualities certainly work in the Old World, too - and nowhere better than in Ottorino Respighi's Rome!


kr. 69,98 (kr. 139,95)
Image Complete String Symphonies
Ultra Extended Playing Time • This product can only be played on a machine with SACD capability. It cannot be played on a conventional CD player.

By using the superior storage capacity of the Super Audio CD exclusively for stereo content, and not include the usual surround mix, it is possible to produce discs with a playing time much in excess of the common CD. BIS has made use of this option before, releasing the complete organ music by Bach - with a duration of more than 20 hours! - as a five-disc set (BIS-SACD-1527/28). Now the turn has come to Mendelssohn, and his thirteen String Symphonies, originally released between 1993 and 1997 on four CDs, but here collected on a single SACD.

These exuberant works were all composed between 1821 and 1824, by a composer who had not yet turned 15. They were performed in the Mendelssohn family residence in Berlin, at Sunday concerts during which musicians from the court orchestra performed and the young Felix and his sister Fanny would appear as soloists when called upon. The opportunity to trace the development of an extremely talented prodigy into a confident composer makes this collection highly interesting. But first and foremost it is a source of tremendous pleasure, with delightful music incorporating influences from Mozart and Haydn, as well as from the Baroque up to and including C.P.E. Bach in expert performances by the Amsterdam Sinfonietta (formerly known as Nieuw Sinfonietta Amsterdam) and Lev Markiz. As described at the time of the original release by the reviewer in Gramophone it consists of 'life-enhancing music from the adolescent fast on his way to such miracles as the Octet and Overture to A Midsummer Night's Dream. And performances to match from a group with brilliance of execution and beautiful even tone as a starting-point for the classical athletic grace, joie de vivre, and often striking ideas.'



kr. 69,98 (kr. 139,95)
Image Symphony No. 2
4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER

4 AV 5 MÖJLIGA I BETYG I GÖTEBORGS-POSTEN

Josef Suk began writing his Asrael Symphony in 1904 as a memorial to his revered teacher Antonin Dvorak, who had recently died. He had completed the first three movements when, in 1905, his young wife Otylka - the daughter of Dvorak - also passed away. Devastated, the composer turned the work into a requiem for the two, completing it in 1906. He gave it the subtitle 'Asrael', the angel of death, who in the Islamic faith leads the souls of the departed to paradise. The five movements of this hour-long symphony are all connected by a network of thematic relationships, the most important of which is a 'death motif', with a characteristic double tritone. Filled by instances of harmonic and polyphonic flair, virtuosic instrumentation and an unbounded expressivity, the work approaches Mahler, Debussy and Strauss and was a milestone in the thirty-year-old composer's creative development. Performing the symphony is the Malaysian Philharmonic Orchestra, conducted by its current music director Claus Peter Flor who appears for the first time on the BIS label. The orchestra, however, has recorded a number of discs under its former music director Kees Bakels. These include a four-part series of the music of Rimsky-Korsakov, discs which received a warm welcome with special commendations to the orchestra: 'This is ruthless music when it comes to revealing a lack of discipline and technique within an orchestra, and the Malaysian Philharmonic once again passes the tests with ease' wrote the reviewer in Fanfare, while the website Classics Today France reported that 'Bakels and his musicians ... have absolutely everything: a generosity of sound, panache and punch, the ability to create images in sound, lyricism ...'. Needless to say, these are all qualities which are displayed to the full in the present recording of Suk's electrifying symphony.




kr. 69,98 (kr. 139,95)
Image Symphonie fantastique
Anna Caterina Antonacci, soprano
Rotterdam Philharmonic Orchestra
Yannick Nézet-Séguin, conductor

In a very short time, Yannick Nézet-Séguin has become one of the most sought-after young conductors in the world, popular with orchestras and audiences alike. Recently named as Music Director Designate of the Philadelphia Orchestra, he succeeded Valery Gergiev as Music Director of the Rotterdam Philharmonic Orchestra in 2008, and has since then taken the orchestra on acclaimed tours to Asia, the USA and his native Canada, as well as making a high-profile appearance during the BBC Proms in London and undertaking a residency at Théâtre des Champs-Elysées in Paris. For the first of four projected discs with BIS, Nézet-Séguin and his Rotterdam players have recorded Hector Berlioz' masterpiece Symphonie fantastique, in a full-blooded and luxurious performance which at the same time respects the work's classical proportions: the conductor himself has described the work as being the last Classical symphony as well as the first Romantic one. The first performance of the largely auto-biographical Symphonie (originally entitled 'An Episode in the Life of an Artist') formed the composer's great break-through, and was applauded by luminaries such as Franz Liszt. In his Memoirs Berlioz relates how the closing movements, March to the Scaffold and the Witches' Sabbath, in particular caused a sensation. The work is here followed by the 'lyrical scene' Cléopâtre (often referred to as La Mort de Cléopâtre), composed shortly before as Berlioz' entry in the competition for the prestigious Prix de Rome. The dramatic potential of the text - Cleopatra's farewell to the world before committing suicide by snakebite - led the young composer to write music of the highest possible drama, which thoroughly scared off the academicians of the Prix de Rome-jury from awarding it a prize. Performing - or rather embodying - the part of Cleopatra is the electrifying soprano Anna Caterina Antonacci, in one of her rare appearances on disc.







kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 45
During the period from which these three cantatas come, Bach no longer presented a new cantata of his own every Sunday. Instead he made extensive use of compositions by others, including his own second cousin Johann Ludwig Bach, court composer at Meiningen. In several instances, Bach also reused texts set by Johann Ludwig for his own compositions, including two of the cantatas here, Brich dem Hungrigen dein Brot and Es wartet alles auf dich. Both of these follow a pattern which falls into two parts, with the opening text of each section being taken from the Old and the New Testament respectively. The third cantata, Gelobet sei der Herr, mein Gott, is also unusual in its structure, in that it utilizes five strophes of a single hymn, word for word. The hymn strophes are respectively used for an opening chorus, three arias and a closing chorale, with the first and fifth movement - resplendently scored with trumpets and timpani - utilizing the same hymn melody, although in very different ways. The three arias (for bass, soprano and alto) are more intimate in size, but also highly varied, addressing in turn Christ, the Holy Spirit and the full Trinity. The disc closes with a movement for solo violin and orchestra, thought to be an opening sinfonia for an unknown cantata. It is possibly a late arrangement of an early work, as the highly virtuosic solo part seems to suggest influences from the Italian violin concertos that were making such an impact in Germany during the first decades of the 18th century. With this disc the cantata series of Bach Collegium Japan and Masaaki Suzuki reaches its 45th instalment, to ever-growing acclaim, as exemplified by a recent review regarding Volume 42: 'a recording which shows Suzuki maturing along with Bach ... another fine instalment in this most consistent of series' (International Record Review).




kr. 69,98 (kr. 139,95)
Image Ma Vlast
Malaysian Philharmonic Orchestra
Claus Peter Flor, conductor

By gathering six symphonic poems under the title Má Vlast ('My Country'), Bedrich Smetana created what is probably the most extensive portrayal of any geographical region in the history of music. In his cycle (composed between 1874 and 1879) Smetana combined the new genre of symphonic poem, a term coined by Liszt in 1854, with the then highly fashionable ideals of nationalistic music. The result was an instant success - not just on Smetana's home ground, but also internationally - and the various parts (especially The Moldau) still remain favourites in concert halls all over the world. Female warriors, Christian reformers, medieval fortresses and peasant festivals - all of these appear in the broad fresco in which Smetana depicted his beloved Bohemia. Ranging from idyllic to grandiose, the music is here performed by Claus Peter Flor and the Malaysian Philharmonic Orchestra, a team whose recording of the Asrael Symphony by Smetana's compatriot Josef Suk made great impact on its release in 2009. Commending the sound quality ('world-class'), the reviewer on the Classics Today website called it 'one smoking hot performance' by an orchestra playing 'like a pack of demons' and his colleague in the Spanish magazine Scherzo praised Flor for striking 'a balance between soft and loud, between drama and lyricism, between lucidity and ambiguity, which makes this into a new benchmark.' More succinctly the review in Classic FM Magazine included an 'unqualified go buy recommendation'.



kr. 69,98 (kr. 139,95)
Image Acide
We often think of Haydn as a composer of symphonies, string quartets and piano sonatas - that is, of instrumental music in various forms. But in fact, he probably wrote as much vocal music, in a variety of genres. The late, great oratorios are still justly famous - The Creation and The Seasons - but he also composed twelve large-scale Masses, a number of cantatas and other sacred works, as well as songs, concert arias and as many as 21 operas and Singspiele. Some of these have been lost, but the majority still exist in more or less complete form. The earliest of these is Acide, the fragment of an opera composed for the celebrations of the wedding of Count Anton Esterházy and Countess Maria Theresia Erdödy, and performed at the Esterházy residence at Eisenstadt on 11th January 1763. The Italian libretto, by G. A. Migliavacca, retells the well-known episode from Ovid's Metamorphoses in which the nymph Galatea witnesses the death of her lover Acis (Acide) at the hands of the cyclops Polyphemus, and his subsequent transformation into a river-god: a tale of undying love fit for the circumstances of the performance. Four arias and most of the recitatives from the original 1763 version of Acide have been lost, but complementing the remaining numbers are two arias and a recitative composed by Haydn for a planned second production in 1773, a project which in the end came to nothing. The research into the different versions of the work has been made by Manfred Huss, director of Haydn Sinfonietta Wien, who has also assembled a cast of eminent singers to perform this 'festa teatrale' in a recording which took place in May 2008. The ample booklet, which includes liner notes by Manfred Huss and a synopsis in three languages, as well as the libretto in Italian and in English, is packed alongside the jewel-case in a cardboard slipcase.




kr. 69,98 (kr. 139,95)
Image Three Theatrical Symphonies
Haydn Sinfonietta Wien / Manfred Huss

By his employer Prince Esterházy Joseph Haydn was expected to provide music, and conduct the almost daily performances of operas and plays at the Prince's own opera house and marionette theatre. He must have been highly disciplined in order to be able to cope with such an enormous workload, but he also developed great skill at recycling. The three symphonies recorded here are results of this - all of them featuring music which was first heard as part of stage productions and later reused in purely instrumental works. Symphony No. 60 - the only one of the three known under its theatrical name, 'Il Distratto' ('The Distracted') - contains the incidental music to a play by the French author Jean-François Regnard. At least parts of the other two symphonies, No.12 and No.50, most probably originated in operatic works, namely Acide and Der Götterrat (the prologue to the marionette opera Philemon und Baucis). Neither of these operas has been preserved in a complete state, but reconstructions of them made by Manfred Huss have previously been released in performances by the Haydn Sinfonietta Wien conducted by Huss himself. Both of these, as well as the team's other previous Haydn recordings on BIS, have been highly acclaimed by the reviewers. Diapason accorded Acide (BIS-SACD-1812) top marks, commending the performance's 'blend of elegance and well-judged vivacity', while Philemon und Baucis (BIS-SACD-1813) was described on the website Classics Today as 'exceptionally moving stuff, full of Sturm und Drang, with Haydn taking pains to give his marionettes music of substantial humanity and warmth'. Manfred Huss and his band now return with an orchestral offering which nevertheless hint at the strong connection that existed between Haydn and the world of theatre and opera.


kr. 69,98 (kr. 139,95)
Image Symphonies Nos. 2 & 7
GRAMOPHONE EDITOR'S CHOICE

HÖGSTA BETYG I SVENSKA DAGBLADET

HÖGSTA BETYG I DAGENS NYHETER


"For my money, Vänskä's has been the most thought-provoking Beethoven symphony cycle since David Zinman's (much as I also loved Jos van Immerseel's). In this last instalment he again offers a Beethoven reforged for today's world. There is a pace - a push to his readings - that feels 21st-centurty hectic. But he also knows when to throttle back - when, as it were, to appreciate life."
(Gramophone)

"Vackraste Beethoven-tolkningen jag har hört"
(Nöjesguiden Stockholm)

"...genom sin extrema kontroll av orkesterns dynamiska uttryck, lyckas han skapa helt nya upplevelser för lyssnaren."
(Opus)

"Den finske Sibelius-specialisten är för mig också nummer ett bland dagens Beethoven-dirigenter."
(Arbetarbladet)

The first instalment in Osmo Vänskä's and Minnesota Orchestra's Beethoven cycle was released in December 2004 and was immediately praised for the performances ('as compelling as any, beautifully realized in every respect') as well as for the state-of-the-art sound ('the multichannel illuminates both the music and the performance, and demonstrates what home audio ought to be about'). Looking ahead, the reviewer in International Record Review even felt it safe to say that 'Vänskä's Beethoven looks set to be a front-runner among the historically unprejudiced cycles now available.' The following discs have if anything strengthened the case for this cycle, including as it does 'one of the finest performances of the Funeral March ever recorded', 'a Pastoral of uncommon beauty', 'an Eighth of reference quality' and a Ninth to 'rank alongside the finest of any era'. With such forerunners it is not surprising that the present disc, closing the cycle, has been eagerly awaited. The disc opens with Symphony No. 2, completed in 1802 during one of the darkest periods of the composer's life, as he was struggling to reconcile himself with his encroaching deafness. Under the circumstances, as Beethoven specialist Barry Cooper points out in his liner notes, a striking feature of the work is 'its thoroughly optimistic character throughout - it is almost as if he was using the symphony as a means of escape.' Following it is the Seventh Symphony in which the strong rhythmic drive that pervades all four movements has made it a favourite in the concert hall - among its admirers is found Richard Wagner who famously dubbed it 'the apotheosis of the dance'.


kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 46
GRAMOPHONE EDITOR'S CHOICE

Hana Blažíkova, soprano; Robin Blaze, counter-tenor; Gerd Türk, tenor; Peter Kooij, bass
Bach Collegium Japan / Masaaki Suzuki

All four works in this volume of Masaaki Suzuki and the Bach Collegium Japan's acclaimed cycle of Bach cantatas come from the second half of 1726. During this period Bach often chose works by other composers for his weekly performances in the Leipzig Thomaskirche, and was therefore able to dedicate more time and effort to those cantatas that he did compose himself. In particular the introductory choruses of the cantatas included here demonstrate this, with their large-scale, almost symphonic conception. The chorus that opens the disc, Herr, deine Augen... from Cantata BWV 102, has a long and multifaceted text which deals with the need for repentance. Bach binds this together in a close-knit structure of recurring themes and motifs, while incorporating fugal sections and passages of a striking, madrigal-like quality. In contrast, the opening chorus of the closing cantata, BWV 19, depicts the victorious struggle of the archangel Michael and his host against Satan, the 'great dragon', with martial music for which trumpets and timpani are added to the orchestra. Reviews of recent releases in this series have confirmed the consistently high quality of the enterprise. The BBC Music Magazine, for instance, described Volume 45 as 'superlative - virtually flawless performances of three of Bach's most inspired cantatas.' Similar praise has also met the team's new recording of Bach's motets, which was 'strongly recommended' in the International Record Review, with the added remark: 'This beautifully judged recording - is one of the most persuasive available.' The soloists on the present instalment include three seasoned participants in Robin Blaze, Gerd Türk and Peter Kooij. Newer to the cantata series is the soprano Hana Blažíkova, whose first appearance, on Volume 43, was noticed by many reviewers, for instance in Diapason: 'Blazikova proves to be excellent: her opening aria [Süsser Trost] - exuding a deeply poignant poetry.'




kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 47
Hana Blazíková, soprano
Robin Blaze, counter-tenor
Satoshi Mizukoshi, tenor
Peter Kooij, bass

Bach Collegium Japan
Masaaki Suzuki, conductor

The Bach Collegium Japan was founded by Masaaki Suzuki 20 years ago, in 1990, and the team's cycle of Bach's Cantatas was launched five years later, in November 1995. Now, 46 volumes and fifteen years later, the series has entered the final stretch but is still going as strong as ever. Reviews of recent volumes speak for themselves - 'With Suzuki you can hear Bach's heart beat...' the reviewer in International Record Review wrote in regards to Volume 40, while Volume 43 caused the critic in Fanfare to rhapsodize: 'a set for the ages, not only performed with consummate style, historical considerations, and musical substance, but with a feeling for these seminal religious works that transcends the merely mechanical presentation that we so often - too often - hear.' There is certainly nothing mechanical about the present performances, of three works which in emotional content range from the joyful vitality of the Advent cantata BWV36 to the meditations upon death and the leave-taking of this world which permeate BWV27. As always the opening choruses are of particular interest, for instance that of Cantata BWV47, a striking example of Bach's skills in illustrating a text in music but also a highly complex composition in which the interplay between choir and orchestra is beautifully balanced. The soloists also have their share of fine moments on this instalment. Hana Blažíková, dubbed 'an ideal Bach soprano' in International Record Review on account of her performance on the previous Cantata volume, performs the charming and playful aria 'Auch mit gedämpften, schwachen Stimmen' with solo violin, while Robin Blaze and Peter Kooij - both veterans of this series - each have received a true display piece in the form of the two arias of BWV27.



kr. 69,98 (kr. 139,95)
Image Cantatas, Vol. 49
Rachel Nicholls, soprano; Robin Blaze, counter-tenor;
Gerd Türk, tenor, Peter Kooij, bass
Bach Collegium Japan / Masaaki Suzuki

In spite of the fact that more than 15 years have passed since Masaaki Suzuki and his Bach Collegium Japan began recording all of Bach's church cantatas, the team's commitment seems if anything to be increasing as this huge project enters its final stretch. The same evidently applies to the enthusiasm of the reviewers, who have been praising the latest instalments even more fulsomely than usual, with Diapason awarding top marks to Volume 44, Volume 46 being made a 'Critics' Choice' in Gramophone, and BBC Music Magazine singling out both Volume 47 and 48 as 'Choral & Song Choice of the Month'. In the present volume Masaaki Suzuki has gathered four works from 1728-29, with the common denominator that the texts for them were all written by the poet Christian Friedrich Henrici. Using the pseudonym Picander, Henrici collaborated with Bach on numerous occasions, most famously so in the St Matthew Passion and the Christmas Oratorio. The present cantata texts were included by the poet in a volume which contains similar texts spanning the entire church year, and it seems possible that Bach set the full cycle to music. As there are only nine extant 'Picander cantatas', this would mean that some fifty Bach cantatas have been lost without trace - a significant loss to music. The four works gathered here hint at the variety that may have characterized the Bach-Picander cantata year, with moods spanning from the jubilation of the New Year Cantata BWV171 to the anticipation of Jesus' path of suffering in Sehet, wir gehn hinauf gen Jerusalem, BWV159, intended for the Sunday before Passiontide. There is also variety on a more technical level, with BWV188 and BWV156 both beginning with instrumental sinfonias featuring important solo parts for organ and oboe respectively.




kr. 69,98 (kr. 139,95)
Image Clarinet Concertos
VALD TILL EN AV ÅRETS BÄSTA SKIVOR 2006 I DAGENS NYHETER

HÖGSTA BETYG I SVENSKA DAGBLADET

HÖGSTA BETYG I P2:s CD-REVYN >ARTISTIC QUALITY: 10
SOUND QUALITY: 10
(CLASSICSTODAY.com)

BETYG: *****
LJUDKVALITET: ******

(Opus)CHOC DU MONDE DE LA MUSIQUE
DIAPASON D'OR"...Världsklass..."
(Dagens Nyheter)"

kr. 69,98 (kr. 139,95)
Image Rhapsody in Blue
Freddy Kempf, piano
Bergen Philharmonic Orchestra / Andrew Litton

The arresting clarinet glissando at the start of George Gershwin's Rhapsody in Blue is probably the most famous opening in American music. It also serves as a symbol for an important current in 20th century music - that of merging popular genres and art music into something wholly new - and as such becomes even more significant through the fact that it wasn't even in the score when the composer first started rehearsals with the Paul Whiteman Orchestra, before the première in 1924: this particular feature, oozing of smoky jazz clubs, was arrived at in collaboration with the clarinettist of the orchestra. At the time, Gershwin was was a mere 25 years old, but already a celebrated jazz pianist and songsmith, with a string of hits to his name. Due to a lack of time, he entrusted the orchestration to Ferde Grofé, the regular arranger of Whiteman's jazz band. The immediate success of the work created a demand for a version for symphony orchestra, however, and for a long time that was the one most usually heard in concert and on disc. On the present recording, Freddy Kempf and the conductor Andrew Litton - himself a noted soloist in Gershwin's works for piano and orchestra - have opted for the original orchestration, allowing the musicians of the Bergen Philharmonic Orchestra to revel in the role of a classic American big band. Following the première of Rhapsody in Blue, Gershwin was commissioned to write a 'proper' piano concerto. He did so the following year, this time providing his own orchestration. Also highly successful with its original audience, Concerto in F employed the rhythms, melodic structures and bluesy harmonies of popular music, but its form is resolutely classical. Also included on the disc are Gershwin's two remaining works for piano and orchestra, the Second Rhapsody (here in his own, original orchestration) and the infectious Variations on 'I Got Rhythm'. The performers on this disc have previously collaborated in a highly acclaimed recording of works by Prokofiev - a disc shortlisted for a Gramophone Award in 2010. The reviewer in International Record Review found it 'an exciting performance, with soloist and conductor working as one' with 'wit as well as virtuosity in Kempf's playing' - qualities that are in rich evidence in this new release too.



kr. 69,98 (kr. 139,95)
Image Trombone Concerto
Arctic Philharmonic Orchestra / Christian Lindberg, trombone soloist & conductor / Rune A. Halvorsen, conductor (Trombone Concerto)

Born in Hammerfest, situated some 450 km north of the Arctic Circle, Ole Olsen was wont to describe himself as the 'World's Northernmost Composer'. A contemporary of Grieg and Svendsen, he also regarded himself as holding third place among Norway's musical elite, with little patience for any competitors' claims to the same position. Son of the local carpenter and baker (as well as violinist and organist), Olsen went to Trondheim as an apprentice clockmaker at the age of 15, but when his musical gifts were noticed it was arranged for him to study at the conservatory in Leipzig, where Grieg had preceded him some 10 years earlier. Returning to Norway in 1874 Olsen completed his Symphony No. 1, which was premièred in Oslo and which he later himself conducted in Leipzig as well as in Vienna and Copenhagen. From early on he had been influenced by the major works of Wagner and Liszt, and it is possible that Liszt's symphonic poems were the inspiration for Asgaardsreien (The Ride of Asgaard). In the work, Olsen vividly depicted the mythical 'Wild Hunt' that has inspired musicians from Liszt (Transcendental Etude No.8) and Schoenberg (in Gurrelieder) to heavy metal bands. This fascinating composer and his colourful music are portrayed here in the first recording by what must surely be the northernmost of symphony orchestras, the Arctic Philharmonic Orchestra, based in the region of Tromsø-Bodø. This recently established orchestra has already performed at the Mariinsky Theatre in St Petersburg and made a tour to China. The orchestra's flamboyant chief conductor, Christian Lindberg, also appears in his guise as trombone virtuoso par excellence in the first ever recording of Olsen's Concerto for Tenor Trombone and Orchestra from 1886.




kr. 69,98 (kr. 139,95)
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