Johannes Brahms's Clarinet Quintet is core repertoire, not just for clarinettists but also in the entire chamber music genre. As such, it has been on Martin Fröst's 'to-be-recorded list' for a long time, and when he gathered a dream-team of string players for a concert in Stockholm in February 2013, it was the perfect opportunity for BIS to organize a recording session. Brahms's Quintet was written in 1891 by a composer who only a year previously had renounced composing, but whose creative urge had been reawakened by his encounter with the leading clarinettist of the time, Richard Mühlfeld. Some 120 years later, Fröst - one of today's most highly regarded musicians and the recipient of the 2014 Sonning Prize - steps into Mühlfeld's shoes, in the company of Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Thedéen. As a complement to this substantial work - with a duration of almost 35 minutes - Martin Fröst has transcribed six much-loved songs by Brahms, performing them with his chamber music partner of long standing, the eminent pianist Roland Pöntinen. The songs, composed between 1866-1886, range from high lyricism (Die Mainacht) to bitter-sweet nostalgia (Wie Melodien...), via the humourous Vergebliches Ständchen. To these new recordings has been added a substantial 'bonus' - Martin Fröst's performance with Pöntinen and Thedéen of the Trio for clarinet, cello and piano, which Brahms composed for Mühlfeld in the same year as the quintet. Originally released in 2005, the recording of the Trio received a warm welcome, including an Editor's Choice in Gramophone, as well as a 'Disc of the Month' on website ClassicsToday.com.

During long periods the flute has been almost synonymous with France, the country from which the music, the great players and the finest instruments all came. The French flute - whether dreamy as in Debussy's Syrinx or sprightly as in Poulenc's Sonata - is simply unmistakeably French, in all its delights. On her new release, renowned flutist Sharon Bezaly - who herself studied in Paris - celebrates this tradition, with a programme consisting of works composed between 1889 and 1946. French Delights is something of a companion piece to a previous Bezaly disc: Café au Lait, a predominantly French flute recital accompanied by Roland Pöntinen. Upon its release that disc, and the artistry of Sharon Bezaly, were highly acclaimed, for instance in French magazine Diapason: 'The flute turns into the voice of enchantment, a lullaby of the senses or an invitation to dreamfulness, into planing light or the glitter of light on water - an instrument almost too beautiful.' Here again, with the support of eminent pianist Love Derwinger, Sharon Bezaly displays her prodigious talent.

Recently released recordings of Mozart's concertos, of three contemporary works for flute and orchestra and of a programme for solo flute have earned Sharon Bezaly epithets such as 'God's gift to the flute', 'an amazingly talented performer' and 'a First Lady among equals'. Here she has turned to some of the central works for flute and piano, and with Ronald Brautigam, familiar from many BIS releases, gives her interpretations of three master-pieces of the 1940s flanking Schubert's great Trockne Blumen variations, composed some 120 years earlier. Though written in the span of two years, Prokofiev's Sonata, Dutilleux's Sonatine and Jolivet's Chant de Linos each show the flute in a different light. Prokofiev was preoccupied with clarity of style and found the instrument a perfect vehicle: 'The sonata should be played with a bright, transparent, classical tone', he wrote. (David Oistrakh later convinced the composer to create a violin version, which quickly became very popular.) A distinctly different approach was taken by Jolivet, who wrote his Chant inspired by the ancient Greek concept of 'linos', a ritual lament punctuated by cries and dancing. It is thus based on musical material associated with Greek modes and explores the extremes of expression. Dutilleux, finally, composed his Sonatine as a set piece for the flute competitions of the Paris Conservatoire. But these academic-sounding origins are belied by the by turns atmospheric and spirited writing, so typical of the multi-faceted Dutilleux. Sharon Bezaly and Ronald Brautigam have previously collaborated on BIS-CD-1439, with violist Nobuko Imai. Upon its release this disc received a number of distinctions and highly favourable reviews, not least because of the superb ensemble playing.

This is the tenth Skalkottas CD produced by Bis since 1997. Very often these have been performed by Greek musicians and recorded by Greek production teams. Half of these discs have been of his chamber music. Each has been recorded and performed to the highest possible standards. The music is incredibly clever, complex, life-enhancing, joyous, shocking and tough by turns...The recording is clear, immediate and close...The performances are magnificent, bringing out all aspects of this emotionally complex music to its fullest extent. Highly recommended -- Gary Higginson, MusicWeb-International

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’).