When asked why songs had come to play such an important role in his oeuvre, Edvard Grieg once said: 'I loved a girl with a wonderful voice and an equally wonderful gift as an interpreter.' The girl in question was Nina Hagerup, later to become Grieg's wife, and with whom he regularly performed many of his songs - as depicted on the painting on the cover of the present boxed set. These songs were thus a labour of love for Grieg - not just his love for Nina, but also for the poems that he chose to set: 'When I compose songs, my principal goal is not to write music but first of all to do justice to the poet's most secret intentions... If this task is performed well, then the music is successful too.' The 172 songs that make up this musical treasure-trove have, with some notable exceptions, received less than their share in terms of international recognition, largely due to the fact that the great majority of them are settings of Norwegian or Danish texts. The present collection includes a 184-page booklet containing all the song texts in the original language with parallel translations into English. The seven discs that make up the collection have previously been released separately, to great acclaim from reviewers around the world: 'Something of a landmark in the Grieg discography... Monica Groop penetrates the very essence of the Grieg spirit with the artlessness that conceals art', wrote International Record Review about one instalment, while a BBC Music Magazine review described another as 'an irresistible new take, thrilling to both the shadows and the bright high-latitude light in this music.' In her own introduction to the project Monica Groop writes: 'I have always felt a special and instinctive affinity for Edvard Grieg and his music ... I admire his gift of being able to write simple, natural music and I have sought to preserve this in performance.' In these endeavours the acclaimed Finnish mezzo-soprano has enjoyed the expert support of three fine pianists: Roger Vignoles, Ilmo Ranta and Love Derwinger.

Himself a viola player, Adrian Jones constructed his six-part concerto Nybyggnan, a folk music saxophone concerto in chamber music format, using a set of newly written tunes in a folk idiom imbued with elements from jazz, heavy rock and classical music. Written for chamber forces it also forges a bridge between the folk and chamber music scenes. Nybyggnan was composed for Daniel Reid, a saxophonist and something of a pioneer in Swedish folk music. Also heard are Mr. Reid’s own Rings on Water as well as Adrian Jones arrangement of the traditional Tingsmarschen (‘The District Court March’).

Once valued even higher than his father J.S. and revered by Haydn, Mozart and Beethoven, the music of C.P.E. Bach has since become the preserve of musicologists and specialists. Highly regarded for bringing early and unknown music by Haydn to light, Manfred Huss has also been a long-time C.P.E. Bach champion; the present disc combines the prestigious Pasticcio-Preis awarded recordings that he made with his Haydn Sinfonietta Wien in 2005-06.

Appearing with leading orchestras and conductors around the world, Evelyn Glennie has also collaborated with musicians as diverse as Emmanuel Ax, the King's Singers and Bjork. Another unexpected partner is the Taipei Chinese Orchestra, with which she first performed at the 2009 Deaflympics. Returning to Taiwan a year later, she recorded the present disc of original compositions and arrangements for percussion and Chinese orchestra. The programme is wide-ranging in geographical terms, with works by composers from the Far East, as well as by German-based Nebojsa Zivkovic, whose duo Born to Beat Wild for bass drum and trumpet here is performed with a suona, 'Chinese oboe', replacing the trumpet. But the disc also spans a vast distance in time, in that the final work, Emperor Qin Crushing the Battle Formations, is a reworking by the composer Yiu-Kwong Chung of an ancient score first performed in the year 627 at the court of the second Tang Emperor. Ecstatic Drumbeat is the last of four discs that present collaborations between the Taipei Chinese Orchestra and soloists from a Western tradition, with Evelyn Glennie following in the footsteps of flutist Sharon Bezaly, saxophonist Claude Delangle and trombone player Christian Lindberg on her own oriental journey.

Composer Boris Tishchenko’s prolific output includes, importantly, eleven piano sonatas: the First, his Op.3, the final his last completed score. Most are extensive, almost symphonic in scale. The unusual three-movement No. 7, Op.85 (1982) is a sonata ‘for piano with bells’, the pianist joined by a percussionist playing large bells, tubular bells and glockenspiel. No. 8, Op.99 (1986) is also a three-movement work, but that is where the similarities end. Their juxtaposition pays him perfect tribute, bearing in mind how deeply he respected tradition while also tearing up its rulebook.

'My end is my beginning, and my beginning my end' - with those words the four members of New York Polyphony end a programme which explores the themes of grief, loss and mortality. Apart from the closing paraphrase by Jackson Hill (b.1942) on Guillaume de Machaut's famous 14th century rondeau Ma fin... and two examples of plainsong, all works included on endBeginning, the ensemble's first disc on BIS, were composed by masters of the Franco-Flemish school of polyphony active in the first half of the 16th century. The music was partly used liturgically, for instance Brumel's Mass for the Dead, which incorporates the first known polyphonic setting of the text Dies iræ, 'Day of Wrath' as its extensive centre piece. Similarly the Lamentations by Crecquillon, a setting which is possibly appearing on disc for the first time, would have been used in churches during Holy Week, with the destruction of Jerusalem as mourned by the prophet Jeremiah standing as a symbol of the Passion of Christ. The two Gregorian chants Libera me and In paradisum both form part of the Roman Catholic burial service, the first a prayer for the soul's delivery from eternal death and the second an evocation of the hereafter. Of a more subjective nature, the two texts Absalon fili mi ('Absalom, my son') and Tristitia obsedit me - Infelix ego ('Sadness has besieged me - Alas, wretch that I am') have moved their respective composers to settings of rare intensity. Formed in 2006, New York Polyphony is establishing a reputation as an exceptionally fine vocal chamber ensemble, and has been praised for a 'rich, natural sound that's larger and more complex than the sum of its parts' (National Public Radio, USA). For this disc the four members have sought out the 14th-century church of Länna, Sweden, and its superb acoustics.