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Flaminis aura

Flaminis aura

Works by Tommie Haglund


Haglund:

Flaminis aura for cello and orchestra

Il regno degli spiriti for string quartet

Sollievo (dopo la tempesta) for string trio

Serenata per Diotima for strings


Ernst Simon Glaser, Julia Kretz-Larsson & Håkan Rudner

Gothenburg Symphony, Malmö Symphony Orchestra, Trio ZilliacusPerssonRaitinen, David Afkham & Joachim Gustafsson

This composer portrait opens with Tommie Haglund’s first score for full orchestra – the cello concerto Flaminis aura. Composed in 2001 and rewarded 13 years later with Sweden’s most important composition prize, the work is in a single movement with a slow basic pulse, and thus conforms to a recurring pattern within Haglund’s production. Its Latin title describes a state immediately prior to a religious revelation, and the music forms an exploration of both the human interior and the cosmos – towards the end of the work a tape with space sounds recorded by NASA is heard: a ‘Song of Earth’.

Performed by Ernst Simon Glaser and the Gothenburg Symphony, the concerto is followed by another composition from 2001, the string quartet Il regno degli spiriti, and the string trio Sollievo (dopo la tempesta). Both these works are here performed by the highly regarded string trio ZilliacusPerssonRaitinen (ZPR), joined by Julia Kretz-Larsson on second violin in the quartet. Sollievo… was composed for ZPR in 2013, and its title – ‘relief after the storm’ – refers to the end of a period of painful treatment following a back operation. With a generous playing time of close to 84 minutes, the disc closes with Serenata per Diotima from 2014, interpreted by the strings of Malmö Symphony Orchestra with substantial violin solos from Håkan Rudner. Celebrating the female philosopher of Greek antiquity, the piece was also inspired by the birth of the composer’s first grandchild.

“Unique and powerful music, stunningly played and recorded – a disc of the month and the disc of the year for me.” MusicWeb International, July 2017

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John Pickard: 16 Sunrises & Symphony No. 5

John Pickard: 16 Sunrises & Symphony No. 5


Pickard:

Symphony No. 5

Sixteen Sunrises

Concertante Variations

Toccata (after Monteverdi)


Born in 1963, John Pickard is best known for a series of powerful orchestral and instrumental works and previous recordings on BIS of his music have received critical acclaim in reviews such as Gramophone (‘simply stunning’), American Record Guide (‘superb works in wonderful readings’) and BBC Music Magazine (‘an absolute triumph).

The present disc brings together some of Pickard’s most recent orchestral compositions, in performances by two of his long-time collaborators: the BBC National Orchestra of Wales and conductor Martyn Brabbins. The opening work is Symphony No. 5, which was composed in 2014 with these performers in mind. Lasting some thirty minutes, the symphony is in a single continuous movement. It requires no less than three timpanists who are placed at the back of the orchestra to the right, left and centre, leading to some dramatic antiphonal exchanges. The symphony is followed by Sixteen Sunrises, the result of the composer’s wish to compose a piece ‘filled with light’. The title of the piece refers to the number of sunrises that can be observed during a twenty-four-hour period from the International Space Station (ISS), as it orbits the earth. Musical depictions of sunrises are normally gradual processes, but viewed from the ISS, a sunrise occurs in a matter of seconds, and it is the idea of suddenly shifting from darkness to light (and back again) that formed the basis of the shape of Pickard’s piece.

In contrast to these two works, the Concertante Variations have been described by the composer as ‘a light-hearted divertimento that poses no profound questions’. It is a concise concerto for wind quintet, strings and timpani, cast in the form of a theme and variations. The disc closes with Pickard’s transcription of the well-known Toccata that Monteverdi used first in his opera Orfeo and later in the Vespers.

“The music fair kidnaps the listener's attention at the outset and does not random it until the gripping, wholly satisfying close...The performance by the BBC National Orchestra of Wales is stunning in its virtuosity (especially the three timpanists) and Brabbins shapes the whole edifice grippingly, as in the couplings.” Gramophone Magazine, Awards Issue 2017

GGramophone Magazine

Editor's Choice - Awards Issue 2017

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Håkan Hardenberger plays Dean and Francesconi

Håkan Hardenberger plays Dean and Francesconi


Dean, B:

Dramatis personae for trumpet and orchestra

Francesconi:

Hard Pace - Concerto for trumpet and orchestra


Håkan Hardenberger (trumpet)

Gothenburg Symphony, John Storgårds

Ever since his very first disc, released by BIS some thirty years ago, Hakan Hardenberger has earned recognition for his performances of the classical repertory, but also as a pioneer of significant and vituosic new music for the trumpet. Collaborations with composers such as Takemitsu, Part, Henze, and H.K. Gruber have resulted in numerous works, of which the two recorded here are among the more recent. Brett Dean's concerto Dramatis personae is named after the term used for the list of characters in a stage work, and casts the soloist in the role of the ''Hero''. Dean's protagonist is a complex one, however, with traits inspired by comic book super heros as well as the classical flawed heros of literature and legend: ''Soliloquy'', the second movement, is a reference to Hamlet, while Charlie Chaplin's character in Modern Times has inspired the work's finale, ''The Accidental Revolutionary''. If there is a hero in the concerto by Luca Francesconi, it is Miles Davis. In his comment sto the work, Francesconi talks of Davis as ''a musician who transcends all labels'' with ''a delicate, cracked sound'' and a voice which speaks directly to the listener. Hard Pace, the title of Francesconi's work, is an allusion to a difficult journey, but it is also a conflation of the names of the performers for whom it was written: Hardenberger, Antonio Pappano and the Santa Cecilia Orchestra. On the present recording it is the Gothenburg Symphony and conductor John Storgards who provide Hakan Hardenberger with expert support in these demanding and rewarding scores.

“Not only is Dean’s piece as theatrical as its title would suggest, it also has a compelling downwards trajectory...Luca Francesconi’s concerto Hard Pace couldn’t be more different but is just as special, perhaps even more so...With Storgårds and the GSO, it’s a dream team” Gramophone Magazine, August 2017

“Two impressive 21st-century trumpet concertos...Both are brilliantly done by the Gothenburg Symphony, with Hardenberger’s thrilling trumpet playing taking centre stage.” Sunday Times, 6th August 2017

“It’s virtuosic writing all round, vertiginously so for Hardenberger; the abiding impression granular, craggy and imposing. Superb support from John Storgårds’s Gothenburg forces in a bold, biting recording.” Classical Ear, September 2017

GGramophone Magazine

Editor's Choice - August 2017

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Emil Jonason plays Lindberg & Golijov

Emil Jonason plays Lindberg & Golijov


Golijov:

The Dreams and Prayers of Isaac the Blind

Vamlingbo Quartet

Lindberg, C:

The Erratic Dreams of Mr Grönstedt

Norrköping Symphony Orchestra


Emil Jonason (clarinet)

Christian Lindberg

Selected by ECHO (the European Concert Hall Organisation) as one of its ‘Rising Stars’ of the 2009/10 season, the Swedish clarinettist Emil Jonason has become increasingly visible on the international music scene. For his first disc on the BIS label he has chosen to record a concerto written for him by his compatriot Christian Lindberg, composer, conductor and legendary trombonist. As Lindberg remarks in his own note on the work, the soloist was involved at all stages of the compositional process. But the Erratic Dreams are the composer’s own – as is the figure of Mr Grönstedt, the main character of those dreams, and of the six movements that make up the colourful score.

In his teens, Emil Jonason was attracted by klezmer music, and played in various klezmer bands. It was therefore a natural choice to combine Lindberg’s concerto with the Argentinian composer Osvaldo Golijov’s work The Dreams and Prayers of Isaac the Blind. In contrast to Lindberg, Golijov found inspiration in a historic figure, the medieval rabbi Isaac the Blind, and his lifelong dedication to the ideas of the Kabbalah. Golijov describes the movements of his work being written in three of the different languages spoken by the Jewish people throughout its history: Aramaic, Yiddish (‘the rich and fragile language of a long exile’) and Hebrew. The work includes references to Jewish prayers as well as to klezmer tunes and the clarinettist is specifically requested by the composer to acquaint himself with the idiom of klezmer music.

“This is not music at the vanguard of innovation but in its directness of utterance, sharp evocation and keen interplay between soloist and tutti it is a joy. Lindberg can certainly write for orchestra but is never in demonstration mode despite the music's panache. Emil Jonason is impeccably smooth and suave, except when Lindberg asks him not to be.” Gramophone Magazine, July 2017

“It’s a rollercoaster of a ride, full of compelling ideas, a characterful clarinet line and rich orchestral accompaniment. Jonason plays it to the hilt, seemingly as far gone in places as Lindberg. There’s a great deal of fun to be had if you are happy to go along with the helter- skelter twists and turns, chiaroscuro emotions and volte- face shifts in mood.” Classical Ear, July 2017 ****

“This disc provides a first-class introduction to the dazzling artistry of a brilliant clarinet talent, and provides further evidence of Christian Lindberg’s growing compositional mastery.” MusicWeb International, August 2017

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4 X Anders Eliasson

4 X Anders Eliasson


Eliasson:

Notturno (1981) for bass clarinet, cello and piano

Senza risposte (1983) for flute, violin, cello and piano

Fogliame

Trio (2010) for violin, vibraphone and piano


Norrbotten NEO

Born in a provincial Swedish town in 1947, Anders Eliasson started playing the trumpet at the age of 9 and soon after formed his own jazz band. In his teens he began to study classical music, however, and aged 19 he was accepted into the composition class at the Royal Academy of Music in Stockholm. Here modernism reigned supreme, and Eliasson felt out of touch with a style that he later described as petrified and intellectualized. His own idea of music was completely different, and he went so far as to say that he did not, in point of fact, compose music but merely assisted in its birth. Eliasson first came to wider notice during the second half of the 1970s, with his Disegno per quartetto d’archi and Canto del vagabondo for boy soprano, choir and orchestra. But as he himself acknowledged, it was in the early 80s that he truly began to find his own voice, for instance with chamber works such as Notturno and Senza risposte. During the rest of Eliasson’s career, it would be compositions for large forces that attracted the greatest attention, in Sweden and abroad: from Symphony No. 1 (1986), which received the Nordic Council Music Prize, to the great oratorio Dante Anarca and Symphony No. 4, premièred by the Bavarian Radio Symphony Orchestra in 2007. He continued writing chamber music throughout his life, however, and the Trio from 2010 was to become one of his last works. Specializing in contemporary music, the seven members of Norrbotten NEO have devised a programme that includes the first recordings on CD of Notturno and the Trio for violin, vibraphone and piano, and at the same time offers the possibility of following a unique voice in contemporary music over the course of four decades.

“These intense, nail-biting interpretations of the Norrbotten NEO guarantee a portrait of a composer that is fascinating in every sense.” FonoForum, July 2017 *****

“Excellent performances from the new music ensemble of the Norrbotten Chamber Orchestra – musicians, notably the hypersensitive strings, who are listening deeply.” Gramophone Magazine, July 2017

“Eliasson’s music (especially that of his early career) is certainly concentrated, thoughtful and rewarding. These are fine performances and recordings of carefully sculpted chamber music that will creep up on the receptive listener in the finest Scandinavian tradition.” MusicWeb International, 10th July 2017

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Nordsending: String Trios

Nordsending: String Trios


Hellstenius:

Rift

Nørgård:

Strings

Tjampuanfor violin and cello

Pastoralefrom ‘Babette’s Feast’

Saariaho:

Cloud Trio

Sørensen, B:

Gondole


Trio Aristos

Nordsending was the name given by southern Norwegian people of the late Medieval and Early Modern period to magical attacks from the sorcerous sub- Arctic and Arctic. It was the ‘broadcast from the north’. The Scots, the English and the Danes had other names for it. But all understood it similarly: the invisible medium through which turbulent air, splinters of iron or quartz, sharp stones, stone arrowheads and little mice were shot into the bodies of the healthy by Nordic witches.

This music is a different kind of nordsending, of course, being a ‘broadcast’ of works for string duo and trio from Henrik Hellstenius, Per Nørgård, Kaija Saariaho and Bent Sørensen – composers frequently classified as ‘Nordic’.

“There is some exquisite playing from Trio Aristos” Gramophone Magazine, May 2017

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Sibelius: Kullervo & Kortekangas: Migrations

Sibelius: Kullervo & Kortekangas: Migrations


Kortekangas:

Migrations

Lilli Paasikivi (mezzo-soprano)

Sibelius:

Kullervo, Op. 7

Lilli Paasikivi (mezzo-soprano) & Tommi Hakala (baritone)

Finlandia, Op. 26 (for male choir and symphony orchestra)


Some 150 years ago what is sometimes called ‘The Great Migration’ of Finns to the United States began. Many of the Finns settled in the Mid-West, and especially in the so-called ‘Finn Hook’, consisting of parts of Minnesota, Michigan and Wisconsin. To celebrate this, the Minnesota Orchestra under its Finnish music director Osmo Vänskä commissioned the composer Olli Kortekangas to compose a work on the theme of migration, of a scale and nature suitable for performance alongside Jean Sibelius’s great Kullervo. Discovering the work of the Minnesota-based poet Sheila Packa, herself of Finnish descent, Kortekangas composed Migrations for mezzo-soprano, male voice choir and orchestra, the same forces as in Kullervo, with the exception of the baritone soloist in that work.

An all-star Finnish cast – soloists Lilli Paasikivi and Tommi Hakala and the celebrated YL Male Voice Choir – joined the Minnesota Orchestra and Osmo Vänskä for three concerts in February 2016, and captured by a recording team from BIS the memorable performances can now be enjoyed by a wider audience. Sibelius began working on Kullervo during his student days in Vienna in 1891, finding his inspiration in the Kalevala, Finland’s national epic. In a letter home to Finland he wrote about ‘a new symphony, totally in the Finnish spirit’ and the work is often regarded as the first successful example of a Finnish national musical language.

In spite of what Sibelius wrote in his letter, the five-movement work is usually regarded as a symphonic poem, but with a duration of c. 80 minutes Kullervo certainly has the scale of a large symphony, and as such the present performance forms a worthy appendix to the highly acclaimed Sibelius cycle which the orchestra and Vänskä brought to a close with the recent release of Symphonies No 3, 6 and 7. As a fitting close to this two-disc set, and to the concerts in Minneapolis’ Orchestra Hall, the orchestra performs Sibelius’s Finlandia, with the YL Male Voice Choir joining in in the famous hymn section.

“Osmo Vänska’s Sibelius has always been distinguished by detail, rhythmic precision and poetic luminosity…this new live recording is better throughout, gaining perhaps from more extrovert Minnesota playing, with the YL choir, excellent if slightly mature soloists and SACD sound” BBC Music Magazine, July 2017 ****

“The YL Male Voice Choir performs magnificently behind mezzo Lilli Paasikivi on the Kortekangas piece, and the integration of choral parts with orchestral interludes gives the piece an almost symphonic solidarity…A lovely tribute to a nation’s music as both heritage and living tradition.” Choir & Organ, May 2017 ****

“The finest recording of Kullervo that I’ve ever heard, presented in magnificent sound.” MusicWeb International, 6th March 2017

“Vänskä now revisits Sibelius’s first exercise in large-scale symphonic form...Tempi are more or less the same as before, though perhaps instrumental detail is highlighted more obviously this time; whether that’s down to Vänskä’s conducting or to the balance of the recording is hard to say.” The Guardian, 23rd February 2017

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Consolation: Forgotten Treasures of the Ukrainian Soul

Consolation: Forgotten Treasures of the Ukrainian Soul


Barvinskyi:

Allegretto pastorale, Op. 1 No. 2

Filippenko:

Toccata

Kolessa:

Carpathian Dances (3)

Kosenko:

Étude No. 8 Op. 8 - Consolation

Klavierstucke (3), Op. 9: No. 1 'Trost'

Romance Op. 7 No. 2 - They Stood in Silence

I Stood and Listened to Spring

Romance Op. 7 No. 10 - I Am Sad

Lyatoshinsky:

Shevchenko Suite: Andante sostenuto - Poco più mosso ed agitato

Lysenko:

Dumka-Shumka, Second Piano Rhapsody on Ukrainian Folk Themes, Op. 18

Album from the Summer of 1901, Op. 39, No. 3

It Makes No Difference to Me

Meytus:

Allegro

Revutsky:

Präludien (3), Op. 4: No. 1 in D flat

Präludien (4), Op. 7: No. 2 in B flat minor

Silvestrov:

Bagatelle, Op. 1 No. 1

Skoryk:

Melody


Natalya Pasichnyk (piano), Jakob Koranyi (cello), Luthando Qave (baritone), Emil Jonason (clarinet), Christian Svarfvar (violin), Olga Pasichnyk (soprano)

In Ukraine, as in many other parts of Europe, the late nineteenth century saw the emergence of a national spirit which resulted in a movement to explore and cultivate popular culture. But the country would have to wait until 1991 for independence, and in the meantime this national spirit could only find musical expression in the more intimate forms. Some of the most authentic examples of Ukrainian art music can therefore be found in chamber music and in song. With this disc, the Swedish-Ukrainian pianist Natalya Pasichnyk, her sister Olga and their Swedish colleagues offer the listener a way into this shadowy world – the beautiful, melancholy and emotive world of Ukrainian chamber music. Except for Valentyn Sylvestrov, the composers featured will be mostly unknown to an international audience, yet they invite the listener to share a journey into a soundscape that is both exotic and strangely familiar. The title of the disc, Consolation, is derived from a rhapsodic piano piece by Viktor Kosenko which perfectly captures the inward-looking mood of much of Ukrainian music, but the first sound which meets the ear of the listener is a loosely strummed chord, like the sound of a lute: in his Dumka-shumka from 1877, Mykola Lysenko imitated the sound of the Ukrainian lute, the kobza. Lysenko is a central figure in Ukrainian art music, and is also represented here with the song Meni odnakovo, a setting of a poem by Taras Shevchenko, the poet who for many embodies the spirit of Ukrainian independence.

“Pianist Natalya Pasichnyk and friends explore rare gems from the time of soviet occupation of Ukraine. Strong performances” BBC Music Magazine, March 2017 ****

“A real portrait of Ukrainian classical music from the last century.” MusicWeb International, 4th May 2017

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LUX

LUX


Amper:

Spelpuma

Halling etter Bråta Per

Ljus i mörkrets tid (Light in Times of Darkness)

Johanna’s bike ride

Den melancoliska pollonessen

Lux

Elden (The Fire)

Polska efter Sven Donat

Näckens polska från gamla tider (The Water Sprite’s Polska from Olden Times)

Trueman

Sälen (The Seal)

Butterfly bazaar


Emma Ahlberg Ek, Emilia Amper, Fredrik Gille, Olle Linder, Anders Löfberg, Bridget Marsden

In 2012, Emilia Amper’s solo début disc Trollfågeln (‘The Magic Bird’, BIS-2013) was a revelation. Not only to those who had never before heard the silvery sound of the nyckelharpa (‘keyed fiddle’), but also for the way Emilia on it combined her roots in Scandinavian folk music with her very own and individual voice. Lux, her new album, confirms the promise of the earlier disc – a selection of her own compositions and traditional Swedish and Norwegian tunes which she performs solo and with a group of musician friends in various constellations.

With its roots stretching back to medieval Europe, the nyckelharpa (‘keyed fiddle’) almost died out in the middle of the twentieth century, but has made a remarkable comeback and is attracting an increasing number of performers in Sweden and around the world. Firmly grounded in Swedish traditional music, Emilia Amper has also worked with musicians from many other backgrounds, and can be regarded as an important ambassador for her instrument, but also for the inquisitive and open spirit which characterizes modern folk music.

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Dansa - violin and voice

Dansa - violin and voice


Bach, J S:

Partita for solo violin No. 2 in D minor, BWV1004

Cruger:

Befiehl du deine Wege

Henryson:

Violin Sonata

Regnart:

Wo soll ich fliehen hin

Sandstrøm, S-D:

Dansa


Lena Willemark (voice) & Cecilia Zilliacus (violin)

Two of Sweden's most highly respected musicians, each in their own field, join forces on this very special disc. Classical violinist Cecilia Zilliacus has won acclaim for her recordings in magazines such as The Strad and Gramophone (Editor’s Choice), and folk musician Lena Willemark is a fixture on the Scandinavian folk and world music scene.

The two open their highly original programme with Bach’s Partita in D minor in a version for voice and violin. This duo version is based on the research of the musicologist Helga Thoene, who has proposed that the celebrated Chaconne which closes the partita was written in response to the death of the composer’s first wife. Woven into Bach’s violin part are numerous quotations from various chorales, from which Willemark has devised a vocal part which she performs drawing on the strong tradition of chorale singing in Swedish folk music. Together with Cecilia Zilliacus’s violin, the clear attacks and straight-toned and direct style of singing form a final farewell, by turns dramatic and serene, to a loved companion.

In order to expand their common repertoire, the two musicians approached the composer Sven-David Sandström in 2011. The result was Dansa (‘Dance’), a scene in seven sections to a text by the poet Maria Wine. Having collaborated previously with both performers, Sandström includes improvisatory passages and provides rich opportunities for the folk musician Lena Willemark to make her imprint on the music, including asking her to change over to the fiddle in one of the sections. Between these two works Cecilia Zilliacus performs a solo sonata written for her by Svante Henryson. In the course of seven movements the piece reflects the versatility of its composer, with a background in jazz, classical music and heavy metal, and allows Zilliacus to display the many facets of her own musicianship.

“It’s strange but interesting.” BBC Music Magazine, March 2017 ****

“Lena Willemark is a Swedish folk singer, and her chorales are a solo-voice wail, plangent and moving, that cuts across Cecilia Zilliacus’s admirable violin like an echo from a ritual past.” The Observer, 29th January 2017 ****

“The earthiness that made her Nielsen so idiomatic is ever-present on this fascinating and unusual recording...Unique, special and beautifully recorded with a touch of resonance, this disc is recommended for any ambitious violinst with an interest in folk traditions.” The Strad, 20th February 2017

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