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Guitarra mia - Tango

Guitarra mia - Tango

Original compositions and transcriptions for guitar of music by Carlos Gardel and Astor Piazzólla


Gardel:

Por Una Cabeza

Cuando tú no estás

El dia que me quieras

Sus Ojos Se Cerraron

Mi Buenos Aires Querido

Volver

Criollita de mis amores

Piazzólla:

La Muerte del Angel

Primavera Porteña

Triunfal

Cinco Piezas para Guitarra


Franz Halasz (guitar)

The origins of the tango are debatable, but few would disagree in naming Carlos Gardel the first great figure of the genre. Beginning his career as a folk singer, Gardel is also generally regarded as the creator of sung tango, tango canción. In the course of some 25 years, he wrote a large number of songs, recorded numerous discs and acted in several films, achieving international stardom. All the Gardel songs heard here featured in films produced between 1932 and 1935. Lending its title to the present disc, Guitarra, guitarra mía was the last song Gardel recorded, shortly before he died in a plane crash in June 1935. Only months earlier, he had encountered a young boy who had a walk-on part in his last film – a striking coincidence, as the boy was Astor Piazzolla, alongside Gardel the most influential figure in the history of the tango. In contrast to Gardel, however, Piazzolla was for a long time the black sheep of traditional tango, eager to explore art music and jazz and to incorporate elements of both in his own music, which became known as nuevo tango. Written for the ensembles that he played and toured worldwide with, pieces such as La muerte del ángel and Vuelvo al sur became immortal. Himself a bandoneon player, Piazzolla often included guitar in his ensembles, but did not compose for solo guitar until in the 1980s, when he wrote the Cinco Piezas that close the disc. Along with numerous arrangements, these have entered the guitar repertoire and are here performed by the German guitarist Franz Halász, who on recent discs for BIS has impressed the critics to the point of winning a Latin Grammy Award in 2015 with a disc of chamber music by Radamés Gnattali.

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BIS - BIS2165

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$14.00

Scheduled for release on 28 April 2017. Order it now and we will deliver it as soon as it is available.

Emil Jonason plays Lindberg & Golijov

Emil Jonason plays Lindberg & Golijov


Golijov:

The Dreams and Prayers of Isaac the Blind

Lindberg, C:

The Erratic Dreams of Mr Grönstedt


Emil Jonason (clarinet)

Vamlingbo Quartet and Norrköping SO, 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.

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BIS - BIS2188

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Scheduled for release on 28 April 2017. Order it now and we will deliver it as soon as it is available.

A noble and melancholy instrument

A noble and melancholy instrument


Beethoven:

Horn Sonata in F major, Op. 17

Dukas:

Villanelle

Glazunov:

Reverie, Op. 24 for French horn

Rossini:

Prelude, Theme & Variations

Saint-Saëns:

Romance, Op. 67

Schumann:

Adagio and Allegro in A flat major, Op. 70

Strauss, F:

Nocturno, Op. 7


Alec Frank-Gemill (horn) & Alasdair Beatson (piano)

The 19th century saw huge developments in the design of many musical instruments. In some cases changes were adopted more or less universally: the fortepiano that Mozart knew, a five-octave instrument constructed entirely of wood, had by around 1900 grown into the modern grand piano with over seven octaves and a cast-iron frame. With other instruments, progress was less streamlined. As late as 1865, the natural, valveless horn of Beethoven's time remained the instrument of choice for Brahms when he wrote his famous Horn Trio, and when valves began to be introduced, makers and musicians in Germany, France and Vienna favoured different solutions, offering different results in terms of sound and requiring different playing techniques. The present disc is a unique combination of recital and history lesson, with a young British team performing music from between 1800 and 1942 on no less than eight different historic instruments: four horns and four pianos. This gives us the opportunity to hear the works on instruments that the different composers would have recognized, whether Beethoven's Sonata in F major (a natural horn from 1800 and a fortepiano from 1815) or the Villanelle by Paul Dukas from 1906 (an early 20th-century cor à pistons and a Bechstein from 1898). Both notable performers on modern instruments, Alec Frank-Gemmill and Alasdair Beatson here revel in the sonic possibilities offered by the historic instruments with results that are as delighting as they are enlightening.

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BIS - BIS2228

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$14.00

Scheduled for release on 28 April 2017. Order it now and we will deliver it as soon as it is available.

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.

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Super Audio CD

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BIS - BIS2270

(SACD)

$14.00

Scheduled for release on 28 April 2017. Order it now and we will deliver it as soon as it is available.

Haochen Zhang plays Schumann, Liszt, Brahms & Janacek

Haochen Zhang plays Schumann, Liszt, Brahms & Janacek


Brahms:

Intermezzi (3), Op. 117

Janacek:

Piano Sonata 1.X.1905 in E flat minor, JW VIII/19 'From the Street'

Liszt:

Ballade No. 2 in B minor, S171/R16

Schumann:

Kinderszenen, Op. 15


Haochen Zhang (piano)

In 2009, at the age of 19, Haochen Zhang became one of the youngest musicians ever to win the Van Cliburn International Piano Competition. Since then he has had a busy concert schedule, primarily in his native China and in the U.S.A. but also in Europe where he made his début at the BBC Proms in 2014. Recording has been less of a priority for Zhang, and it is only now that he releases his first studio album, recorded at the Reitstadel, the well-known audiophile venue in Neumarkt in Germany. For this recital, Haochen Zhang has devised a programme made up of works that he feels particularly close to. As he writes in his own liner notes, they ’not only speak to me in a very intimate way, but also connect with one another at a corresponding level of intimacy: as a whole they form a unique musical narrative.’ The pieces all share a reflective and introspective quality, albeit reflective in different ways. Opening the disc Schumann’s Kinderszenen were described by the composer as ‘reflections of an adult for adults’ and in the closing Op. 117 Intermezzi, Brahms also seems to be looking backwards – but with resignation rather than intimate tenderness. Framed by these two, the works by Liszt and Janá?ek contain overtly dramatic episodes, but contemplative interludes form a recurrent feature of the Ballade, and in Presentiment, the first movement of Janá?ek’s Sonata, the dark forebodings seem to rise up from the composer’s own soul.

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Super Audio CD

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BIS - BIS2238

(SACD)

$14.00

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Scheduled for release on 31 March 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Mozart: Serenades Volume 1

Mozart: Serenades Volume 1


Mozart:

Serenade No. 9 in D major, K320 'Posthorn'

Serenade No. 13 in G major, K525 'Eine kleine Nachtmusik'

Marches (2) in D major, K335

String Quartet No. 1 in G major, K80: Minuet


Die Kölner Akademie, Michael Willens

Die Kölner Akademie and Michael Willens have previously recorded Mozart’s complete piano concertos with Ronald Brautigam, earning praise for their fresh and colourful contributions to the series. The team now releases the first of four projected discs with further Mozart scores, beginning with two of the composer’s best-loved serenades. Serenades were a characteristic feature of Salzburg musical life: opening with a march and continuing with as many as eight or nine separate movements on an orchestral scale, such works will have been ringing in Mozart’s ears from childhood. Thirteen serenades of varying scope and scorings are included in Mozart’s catalogue of works, and of these the well-known ‘Posthorn Serenade’ is the ninth. It is also the last serenade that Mozart composed before leaving Salzburg for Vienna. The nickname stems from Mozart’s inclusion of a solo for post horn (‘cornodi posta’) in one of the movements, but the wind instruments play an important role throughout the serenade, with extended solos for flute and oboe.

In comparison, Eine kleine Nachtmusik – the last serenade Mozart wrote – is for strings only. It is also shorter than many of the other serenades, and was probably intended for a more intimate occasion. Mozart’s own thematic catalogue lists it as having five movements, but as the first minuet and trio (preceding the slow movement) have been lost, only four are typically performed today. In this recording a minuet from Mozart’s very first string quartet in G major, K. 80, is incorporated by way of completion of the five-movement arch.

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BIS - BIS2244

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Scheduled for release on 31 March 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Beethoven: Piano Concertos Nos 1 & 2

Beethoven: Piano Concertos Nos 1 & 2


Beethoven:

Piano Concerto No. 1 in C Major, Op. 15

Piano Concerto No. 2 in B flat major, Op. 19


On two previous discs, Yevgeny Sudbin and Osmo Vänskä have released Beethoven’s three last piano concertos to critical acclaim. Distinctions include Editor’s Choice in Gramophone and the performances have been described as ‘electrifying’ (classicfm.com), ‘absolutely stunning’ (Fanfare) and ‘a Beethoven experience you will not want to miss’ (ClassicsToday.com).

For the final disc in their cycle, Sudbin and Vänskä have travelled to Helsinki to team up with Tapiola Sinfonietta, one of the top Nordic ensembles, and well suited for these earlier and more classical of Beethoven’s concertos. Of the two, the one we now know as the Second was actually begun several years before Concerto No. 1, and indeed even before Beethoven left Bonn for Vienna. During the following decade, Beethoven returned to the score repeatedly and made substantial revisions – including composing a new final movement – and ultimately the C major concerto reached publication first. Both concertos were conceived long before Beethoven's involvement with the symphonic genre, and the influence of Mozart and Haydn is evident in the interaction between the orchestra and the soloist – but Beethoven's individual spirit is nevertheless unmistakeable.

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BIS - BIS2078

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Normally: $14.00

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Scheduled for release on 31 March 2017. Order it now and we will deliver it as soon as it is available.

JS Bach: Organ Works, Vol. 2

JS Bach: Organ Works, Vol. 2


Bach, J S:

Prelude & Fugue in G major, BWV541

Organ Concerto in D minor (after Vivaldi), BWV596

Chorale Partita BWV768 'Sei gegrusset, Jesu gütig'

Organ Concerto in C major (after Vivaldi), BWV594

Prelude & Fugue in C major, BWV547


Before releasing his first disc of Bach’s organ works, Masaaki Suzuki had recorded the composer’s complete sacred cantatas, as well as the large-scale choral works and much of the music for harpsichord. His achievements in these fields obscured the fact that Suzuki originally trained as an organist, and began working as such already at the age of twelve. So when Volume 1 of this series reached reviewers around the world, it was something of a revelation to many: the disc went on to be named Choice of the Month in BBC Music Magazine, Diapason d’Or in Diapason and Recording of the Month in Gramophone, which then went on to include it on its list of the ‘50 Greatest Bach Recordings’.

Volume 1 featured the celebrated Schnitger/Hinz organ of Groningen’s Martinikerk in the Netherlands. For the present instalment, Suzuki returned to more familiar ground – the chapel of the Kobe Shoin Women's University where the great majority of his recordings with Bach Collegium Japan have taken place. The chapel houses a French classical organ built in 1983 by Marc Garnier, and on it Suzuki performs a highly symmetrical programme with the large-scale chorale partita BWV 768 at its centre. The work is known as ‘Sei gegrüßet, Jesu gütig’, although the chorale text that it is structured upon most probably is that of ‘O Jesu, du edle Gabe’. On either side the partita is flanked by an arrangement by Bach of concertos by Vivaldi, and a chorale prelude on ‘Liebster Jesu, wir sind hier’. The disc opens and closes with a Prelude and Fugue, in G major and C major respectively.

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Early Music

BIS - BIS2241

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Camilla Tilling sings Gluck and Mozart Arias

Camilla Tilling sings Gluck and Mozart Arias


Gluck:

Qual vita è questa mai...Che fiero momento (from Orfeo ed Euridice)

Che fiero momento (from Orfeo et Euridice)

Enfin, il est en ma puissance (from Armide)

Quel trouble me saisit (from Armide)

Ah! Si la liberté me doit être ravie (from Armide)

O malheureuse Iphigenie! (from Iphigénie en Tauride)

Mozart:

Idomeneo, K366: Overture

Quando avran fine omai ... Padre, germani, addio! (from Idomeneo)

Zeffiretti lusinghieri (from Idomeneo)

Giunse alfin il momento... Deh, vieni, non tardar… (from Le nozze di Figaro)

Temerari!...Come scoglio! (from Così fan tutte)

Ei parte...Per pietà (from Così fan tutte)

E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro)


Camilla Tilling (soprano)

Musica Saeculorum, Philipp von Steinaecker

Love plays a significant part in most operas, but all too often it is frustrated, or entangled with deception, humiliation and betrayal. With her new disc Camilla Tilling presents a near-comprehensive catalogue of the emotions that the vagaries of love can raise in the breast of an operatic heroine. And these emotions are universal and timeless, afflicting servants and countesses, Grecian princesses, a sorceress from Damascus and a young lady of 18th-century Naples alike.

Gluck’s Armide glories in having Renaud in her power – until she realizes that her feelings makes it impossible to destroy him as she had planned. Newly raised from the dead, his Euridice is defenceless against the strong emotions of the living, and beset by doubts when Orpheus refuses to acknowledge her on their way back to earth. In the bravura aria Come scoglio, Mozart’s Fiordiligi proclaims her steadfast love for Guglielmo, but in the following act of the opera she regretfully admits to having been enamoured by another. And from The Marriage of Figaro we hear Susanna inviting the loved one to a nocturnal rendez-vous (‘Deh vieni, non tardar’) as well as her mistress, the Countess, wondering in ‘Dove sono’ what happened to the loving marriage she once had.

With a soprano typically described as ‘radiant’, ‘vernal’ or ‘silvery’, Camilla Tilling has performed several of the roles featured here at venues such as Opéra National de Paris, Covent Garden, Salzburg Mozarteum and Drottningholm Slottsteater. On this recording she partnered by Philipp von Steinaecker and his Musica Saeculorum, whose period instruments bring out all the sweetness, pain and regret that Gluck and Mozart magically worked into their scores.

“Tilling sounds at the height of her powers, her voice still limpid, fresh and youthful, her interpretative skills those of a mature artist. She sings long “instrumental” lines unbroken by breaths, yet her textual inflections...illuminate character.” Sunday Times, 12th February 2017

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Super Audio CD

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BIS - BIS2234

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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.

“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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Super Audio CD

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BIS - BIS9048

(SACD - 2 discs)

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