{"title":"BIS Records Sale 2026","description":"\u003cp style=\"text-align: center;\"\u003eExplore the distinctive sound of \u003cstrong\u003eBIS Records\u003c\/strong\u003e with \u003cstrong\u003e300+ titles\u003c\/strong\u003e on sale at ArkivMusic! \u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003eDiscover acclaimed recordings featuring masterpieces by \u003cstrong\u003eBrahms\u003c\/strong\u003e, \u003cstrong\u003eStravinsky\u003c\/strong\u003e, \u003cstrong\u003eBach\u003c\/strong\u003e, and more, brought to life by outstanding performers including the \u003cem\u003eMinnesota Orchestra, James Rutherford\u003c\/em\u003e, and the \u003cem\u003eBBC National Orchestra of Wales\u003c\/em\u003e. From orchestral favorites and timeless classics to exceptional performances from across the \u003cstrong\u003eBIS \u003c\/strong\u003ecatalogue, there’s plenty to discover at special prices for a limited time!\u003c\/p\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eShop the sale before it ends at\u003cstrong\u003e 9:00am ET, Monday, August 31st, 2026.\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","products":[{"product_id":"nystroem-sinfonia-espressiva-sinfonia-seria-paavo-jarvi-225312","title":"Nystroem: Sinfonia Espressiva, Sinfonia Seria \/ Paavo Järvi","description":"REVIEWS:\u003cbr\u003eFanfare (5-6\/98, p.173) - \"The Swede Gösta Nystroem (1890-1966) is one of those undemonstrative composers whose quiet sobriety might lead the inattentive to pass him by unwittingly. But in his understated way Nystroem is a master, and BIS's ongoing series of recordings with Paavo Järvi in Malmö is something that deserves enthusiastic support...\"\u003cbr\u003eBBC Music (3\/98, p.59) - Performance: 4 (out of 5), Sound: 5 (out of 5) - \"...the Malmö Symphony Orchestra reveals its greatest strength in a richness of string tone....Paavo Järvi keep[s] tight control on the music's sometimes diffuse dramatic flow...\"","brand":"BIS","offers":[{"title":"CD","offer_id":44626347327722,"sku":"7318590007822","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262975.jpg?v=1786742078"},{"product_id":"aho-symphony-no-1-hiljaisus-violin-concerto-103824","title":"Aho: Symphony No 1; Hiljaisus: Violin Concerto \/ Gräsbeck, Vänskä, Lahti Symphony","description":"Given Sibelius’s reputation as one of the great symphonists of the last century, contemporary Finnish composers may be forgiven for feeling a little overshadowed. Fortunately for the young Aho, Rautavaara’s advice and support proved decisive in shaping this symphony, which began life as a string quartet. The work is in four movements, the mysterious opening and ascending brass figures of the Andante strongly reminiscent of Shostakovich. Indeed, this is confirmed by the noted music publisher Fennica Gehrman, in a short article on the Finnish Musical Information Centre website.\u003cbr\u003e  \u003cbr\u003e There is no obvious programme here, but in his refreshingly unpretentious liner-notes – a welcome feature of this entire cycle – Aho does speak of ‘nightmares’ and ‘psychological crises’. Even without these pointers the Andante has a certain bleakness – desolation, even – although there’s none of the trenchancy one associates with Shostakovich in similar mood. That said the grim little waltz in the Allegretto could so easily be attributed to DSCH, not to mention the quiet but insistent tread in the lower strings.\u003cbr\u003e  \u003cbr\u003e By contrast the Presto kicks off with an arresting moto perpetuo that drives this fugue like a musical dynamo. This movement has some of the most individual writing so far. That said the shade of Shostakovich hovers nearby, the laconic waltz tune and a splintered remnant of the opening theme bringing the symphony to an enigmatic close.\u003cbr\u003e  \u003cbr\u003e The other works on this disc – Hiljaisuus (Silence) and the Violin Concerto – date from the early 1980s. According to Aho, Hiljaisuus, a Finnish Radio commission that was to last no more than five minutes, was intended as an introduction to the recently completed Violin Concerto. It’s a strange swirl of a piece, a mix of unsettling glissandos and unearthly sonorities. Sample the short passage at 4:02 and you may be forgiven for thinking you’re listening to Ligeti.\u003cbr\u003e  \u003cbr\u003e The Violin Concerto has more momentum and contrast than Hiljaisuus, although it shares the latter’s concentrated, more dissonant idiom. It isn’t the most grateful start to a violin concerto, the solo part – sensitively played by Manfred Gräsbeck – rather less prominent than one might expect. That said it would be difficult to hear it above the orchestral eruptions that punctuate the first movement. At 8:30 the soloist is given some insistent phrases that rise above muted timps, culminating in an equally restrained close.\u003cbr\u003e  \u003cbr\u003e The repeated phrases at the start of the second movement – marked Leggiero – lead into music that fluctuates between light and shade. The soloist has some rhapsodic passages all to himself before we plunge into the spectral waltz of the finale. La Valse this isn’t, but the wild, somewhat demonic element is certainly present. Gräsbeck phrases these tunes like a Mahlerian Ländler – listen to the passage beginning at 3:37 – before he is crushed by a massive orchestral climax worthy of Bartók in Miraculous Mandarin mode.\u003cbr\u003e  \u003cbr\u003e Whatever hints there may be of other sound worlds Aho has fashioned something altogether individual here, combining a range of ear-pricking sonorities with music of considerable punch and power. Nothing quite prepares one for the gentle, introspective close to this concerto which, as I have discovered, is something of an Aho trademark.\u003cbr\u003e  \u003cbr\u003e Despite its obvious influences the symphony is remarkably assured for a student work. It’s economically scored, light on its feet and direct in its appeal, the chamber-like qualities much enhanced by the airy recording. The concerto is more roughly hewn; it’s a protracted tussle between soloist and orchestra, yet it has real presence and power. All credit to the Lahti Symphony Orchestra – just 40 years old when this recording was made – who play these scores with commitment and care. An excellent entrée to Aho’s distinctive sound world.\u003cbr\u003e  \u003cbr\u003e -- Dan Morgan, MusicWeb International\u003cbr\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":44625705238762,"sku":"7318590003961","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262811.jpg?v=1786741479"},{"product_id":"jon-leifs-saga-symphony-osmo-vanska-iceland-80693","title":"Jón Leifs: Saga Symphony \/ Osmo Vänskä, Iceland Symphony","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44625277190378,"sku":"7318590007303","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262950_6f252436-9e0b-42f9-a72f-273e0cce773e.jpg?v=1786741697"},{"product_id":"part-summa-kantorow-tapiola-sinfonietta","title":"Pärt: Summa \/ Kantorow, Tapiola Sinfonietta","description":"Classical 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Bach: Cello Concertos \/ Suzuki, Bach Collegium Japan","description":"Writing in the booklet for this release, Hidemi Suzuki wonders why it is that cellists who bemoan their lack of concerto repertory continue to neglect C. P. E. Bach's three essays in the genre. One can only agree with him that it is indeed a mystery, for these are excellent pieces, full of infectious nervous energy in their outer movements and tender lyricism in central ones (heaven knows, there are nineteenth-century concertos for all sorts of instruments which we are condemned to hear over and over again that are not half as good as these). The Bach concertos are not unknown to the recording catalogues, however, not least because they also exist in alternative versions which the composer made for flute and harpsichord respectively. 'Modern' cellists who have been tempted to try some out include Rostropovich (H436) and Tortelier (1-1439), and there are currently discs of all three available from Timothy Hugh and Miklos Perenyi. As yet, though, the only baroque player to have attempted them has been, predictably enough, Anner Bylsma.\u003cbr\u003e  \u003cbr\u003e It is not known in what order the three instrumentations of these concertos originally came, but as Suzuki points out there are times when the low-lying cello has difficulty making itself heard properly against the orchestra, having said which, he proceeds to make light of the matter in performances whose agility, lightness and textural clarity make those of Bylsma and the larger-sounding OAE sound heavy-handed by comparison. But while Suzuki - thanks to a generally thinner sound - is the more successful in the way he transmits the surface excitement and energy of the quick movements, he cannot match Bylsma's vocal inspiration in the eloquent, sometimes brooding empfindsamkeit poetry of the slow movement — in such music, the Dutchman is always worth listening to. Suzuki's, nevertheless, are refreshing and enlivening performances of attractive and substantial music which I have already found myself replaying with pleasure. If you are a cellist, you should buy it straightaway to find out what you have been missing!\u003cbr\u003e  \u003cbr\u003e -- Gramophone [2\/1998]\u003cbr\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":44711244759274,"sku":"7318590008072","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262988.jpg?v=1786742119"},{"product_id":"ligeti-complete-piano-music-vol-2-7318590009833","title":"Ligeti: Complete Piano Music, Vol. 2","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44711275725034,"sku":"7318590009833","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263108_3004b611-9ab5-4d9c-a3d9-02f007f3b04e.jpg?v=1786746602"},{"product_id":"peterson-berger-frosoblomster-noriko-ogawa-83787","title":"Peterson-Berger: Frösöblomster \/ Noriko Ogawa","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44711278641386,"sku":"7318590009253","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263067.jpg?v=1786746764"},{"product_id":"mortensen-wind-quintet-op-4-holmboe-notturno-op-19-7318590000243","title":"Mortensen: Wind Quintet, Op. 4 \/ Holmboe: Notturno, Op. 19 \/","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44711306461418,"sku":"7318590000243","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2265473.jpg?v=1786721747"},{"product_id":"ibert-histoires-maurice-tableaux-de-provence-7318590002094","title":"Ibert: Histoires… \/ Maurice: Tableaux De Provence","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44711308198122,"sku":"7318590002094","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262722.jpg?v=1786742197"},{"product_id":"sounds-of-finland-7318590000946","title":"Sounds Of Finland","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44711308460266,"sku":"7318590000946","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262694.jpg?v=1786741938"},{"product_id":"blomdahl-lidholm-bortz-piano-music-7318590005798","title":"Blomdahl \/ Lidholm \/ Bortz: Piano Music","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44937658958058,"sku":"7318590005798","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2265720.jpg?v=1786749303"},{"product_id":"mitsukuri-3-pieces-after-the-flower-hashimoto-3-piano-pi-7318590008546","title":"Mitsukuri: 3 Pieces After The Flower \/ Hashimoto: 3 Piano Pi","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44937659154666,"sku":"7318590008546","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263008_53b43410-23e4-41a4-93e2-aa0f08e474a7.jpg?v=1786721413"},{"product_id":"ye-sichuan-image","title":"Xiaogang Ye: Sichuan Image \/ Ogawa, Serebrier, RSNO","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn in Shanghai in 1955, Xiaogang Ye is regarded as one of China’s leading contemporary composers. He has written music in a variety of genres, including symphonic and chamber works as well as scores for the stage. Ye has also composed music for films and the two works recorded here are both examples of this. Sichuan Image consists of 29 brief and atmospheric pieces composed to accompany a filmed travelogue of the scenic province in Western China. In preparation for the work, the composer visited mountains, river, villages and ancient historical sites in Sichuan. Lending further color to the large symphony orchestra, four Chinese musicians perform on traditional instruments. The album closes with Concerto of Life, a suite in five movements for piano and orchestra with Noriko Ogawa taking on the solo part. The work is based on the score for a feature film of the same name telling the story of a piano teacher and his students. Ogawa has also appeared on a previous album of Ye’s music alongside the Royal Scottish National Orchestra and conductor José Serebrier – a release named Editor's Choice in the Gramophone, whose reviewer described the performances as 'superb' and Ye's scores as possessing ‘lyrical elegance, searching drama and depth of color…’\u003c\/span\u003e\u003c\/p\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":46012544221418,"sku":"7318590023037","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4092621-2833170.jpg?v=1786656802"},{"product_id":"c-p-e-bach-solo-keyboard-music-vol-41","title":"C.P.E. Bach: Solo Keyboard Music, Vol. 41","description":"This disc features solo keyboard arrangements of works by Carl Philipp Emanuel Bach originally scored for other instruments. In the second half of the eighteenth century the demand for keyboard music increased rapidly, as musical skills became a social requisite for young ladies of the upper classes. Providing compositions for these new keyboard players was financially profitable, but Bach also had another reason for welcoming arrangements: keyboard instruments were his favourite medium.    The seven short pieces on this well-filled disc all exist in versions for various small groups of instruments or, in some cases, for mechanical instruments. In his comments, Spanyi suggests that they could in fact be the original versions, perhaps written down in keyboard notation as drafts for further versions, and later arranged by Bach on for various ensembles. Miklos Spanyi has grouped these short pieces around four larger-scale works, of which two are arrangements of symphonies, probably not arranged by or for the composer himself. The solo keyboard arrangements of the two concertos, made by Bach himself and easier to play than the original concertos, were intended for amateurs. On this disc, Spanyi uses an extremely versatile and colourful tangent piano, a very popular instrument in the second half of the 18th century. This particular instrument was built in 1998, after a model from 1799.","brand":"BIS","offers":[{"title":"CD","offer_id":46012545007850,"sku":"7318590023976","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4348899-3201966.jpg?v=1786650144"},{"product_id":"palumbo-woven-lights-7318590026250","title":"Palumbo: Woven Lights \/ D'Orazio, Reynolds, London Symphony Orchestra","description":"\u003cp\u003eThe critically acclaimed Italian composer Vito Palumbo has had works performed all over the world by leading orchestras. He began his career with postmodern experimentation, going on to different forms of music theatre. In recent years Palumbo has focused on works for full orchestra, exploring the possibilities of colors and textures – sometimes with the help of electronics – and putting the concept of ‘historical memory’ at the centre of his own composing.\u003c\/p\u003e\n\u003cp\u003eWith echoes seemingly coming from Alban Berg’s violin concerto, Palumbo’s own Concerto for Violin and Orchestra (2015) displays bittersweet lyricism. Characterized by a dramatic language and driven by a strong and varied rhythmic impulse, the single-movement work also offers transitional moments of static beauty typical of the composer’s usual finesse in the scoring. With its title echoing the past, Chaconne for 5-string electric violin and electronics (2019-20) highlights the different ways in which the electronics intertwine with the live electric violin, within a conception animated by a strong theatrical sense, like a script for a play that does not reject emotional gestures. About this work, the composer has remarked ‘I want the meaning of my music to be apparent from listening, without the need for verbal justification.’ Both works are championed by the violinist Francesco D’Orazio, a close collaborator of the composer and the dedicatee of the Chaconne.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCast in a single movement of around 30 minutes, the Violin Concerto (2015) starts out with sepulchral stirrings that gradually open out texturally and dynamically on to an evocative backdrop for the soloist to pursue a mainly lyrical and often imaginative discourse. While the violin is very much first among equals across what unfolds, its contribution stands out owing to the fastidiousness of Palumbo’s orchestration; notably during those later stages (of a piece in several arclike sections) when other instruments come briefly if tellingly to the fore to extend the music’s expressive remit. A final and evidently defining climax precedes its dying down towards the musing and even mystical serenity with which this work closes.\u003c\/p\u003e\n\u003cp\u003eFrancesco D’Orazio is the assured soloist both here and in Chaconne (2019-20), its scoring with electronics testament to the scrupulousness by which Palumbo approaches the medium. In the initial ‘Woven Lights’, a five-string electric violin is heard in the context of sampled sounds whose gestural immediacy decreases as these are drawn into a sonic continuum as unpredictable as it is imaginative. A long and often plangent cadenza makes way for ‘The Glows in the Dark’, the violin now surrounded by 30 pre-recorded variants of itself as this music assumes a rarefied while also capricious quality typified by tangible weightlessness.\u003c\/p\u003e\n\u003cp\u003eFrancesco Abbrescia has realised the electronics with audible sensitivity, and the London Symphony Orchestra respond with equal finesse to the astute conducting of Lee Reynolds. Warmly recommended[.]\u003c\/p\u003e\n\u003cp\u003e-- Gramophone\u003c\/p\u003e\n\u003cp\u003ePalumbo himself has mentioned Berg’s 1935 Violin Concerto as an inspiration for his own concerto of 2015, and connections are clear in the more recent piece’s sumptuous harmonies and deep lyricism (a wonder-filled section near the end even sounds uncannily like a John Williams movie score). There’s a sense of ever-expanding melody that soloist Francesco D’Orazio captures excellently in his warm, generous playing, with an expressive, finely controlled vibrato and abundant character across the rhapsodic writing; the London Symphony Orchestra provides spirited support under Lee Reynolds.\u003c\/p\u003e\n\u003cp\u003eD’Orazio swaps his Guarneri for a five-string electric fiddle in Palumbo’s two-movement Chaconne, which first pits the soloist against a shimmering electronic backdrop, and later against 30 mirror images of himself. It’s a volatile, sometimes elusive piece that blends fantasy and sonic adventurousness, and D’Orazio responds with far harder-edged, sometimes astringent playing that stands out beautifully against the composer’s washes of sound. The massed, high-pitched violins set microtonally apart in the Chaconne’s second movement make for a rather headache-inducing, if impressive, sonic texture, but it’s the piece’s uneasy relationship with more traditional tonality and playing, and its joyful celebration of the wild unpredictability of sound that make it particularly striking. Recorded sound is close, warm and clear throughout.\u003c\/p\u003e\n\u003cp\u003e-- The Strad\u003c\/p\u003e\n\u003cp\u003eOf the two scores the first is a Concerto for violin and orchestra. This is in a single-tracked 30-minute movement. A solution of tense foreboding and beetling catastrophe are the order of the day. The violin evokes thoughts of Ifrits rising like evocations of flame and driven upwards by superheated thermals. Palumbo embraces some ferociously stropped violent dissonance but weaves in a romantic style: Walton\/Berg. It is as if a sky-soaring Ariel is gripped by a mystical pilgrimage. There are moments of appeasing calm (8.40), hesitant wispy writing deep in the undergrowth (18.11). Pizzicati and precipitous slides recall Hovhaness with the solo instrument slipping frictionless and free. (28.00). All ends in silence. This work will appeal to those who warm to the Violin Concerto by Missy Mazzoli – also on BIS.\u003c\/p\u003e\n\u003cp\u003eA change of instrumental cams and gears comes with the other work: a Chaconne for five-stringed electric violin and electronics (2019–20). There’s no orchestra this time. The music is in two substantial movements:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWoven Lights\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Glows in the Dark\u003c\/em\u003e. The first of these has the soloist juxtaposed with sampled sounds and electronics. The second has D’Orazio’s solo plus 30 pre-recorded electric violin parts. Like the more conventionally scored Concerto this work is intricate and delicate: a jangling and twangling Prospero’s Island. It’s another impressively virtuoso piece – a thing of wonder.\u003c\/p\u003e\n\u003cp\u003eAs is BIS’s practice these days, the CD comes with a supportive essay and other written material. It’s all in a cleverly contrived card sleeve.\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International\u003c\/p\u003e\n\u003cp\u003eThe year 2023 has served contemporary music rather well on record. Among its many highlights, Vito Palumbo’s new album\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWoven Lights\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eburns bright indeed. Coming five years after the composer’s first BIS Records release, the second volume brings together two notable scores focusing on the violin – in its acoustic and electric raiments – featuring Francesco D’Orazio as soloist.\u003c\/p\u003e\n\u003cp\u003eThe album opens with Palumbo’s thirty-one-minute Violin Concerto (2015) in one movement, followed by the twenty-seven minute\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eChaconne\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2019–20) for electric violin (five strings) and electronics. Cast in two movements – which can also be performed separately – the latter features sampled sounds, electronic soundscapes devised by Francesco Abbrescia and up to thirty pre-recorded electric violin parts.\u003c\/p\u003e\n\u003cp\u003eDocumented on microphones at Abbey Road Studio 1, London on 17 September 2016, with D’Orazio joined by the London Symphony Orchestra under Lee Reynolds, the Violin Concerto is given an immersive workout on the new album. Although conceived as extended monolith, one hears traces of more traditional concerto scheme embedded within its awe-inspiring arch. Scored for solo violin and [orchestra], the violin concerto is awash with formidable instrumental writing, giving rise to an enthralling sequence of soundscapes.\u003c\/p\u003e\n\u003cp\u003eEmerging from nowhere, the music begins to take shape in various orchestral noises; tam-tam pulses, low drones, Tibetan bowls and ascending vibraphone patterns. Out of the string fabric, violent orchestral pulses are drawn as the introduction draws to its close, paving the way for the solo violin to enter the soundstage. Accompanied by glockenspiel and strings, soon joined by woodwinds, the soloist begins to unfold an endless melody – to put it in Birtwistlesque terms – colorized by muted brass. This leads to rousingly kinetic section with virtuoso violin figurations and percussive orchestral interjections, contrasted some pages later by cloud-like arpeggios.\u003c\/p\u003e\n\u003cp\u003eCooling down, the concerto flows into its meditative central section of dazzling color, where the soloist’s candle-lit musings are echoed by translucent orchestral chiaroscuro. Here, Palumbo draws some astounding textures from the solo instrument and the symphonic ensemble alike. However, the music does not linger. Jagged soundscapes re-emerge some four minutes later in a passage of splendid unrest. This, in turn, leads to astounding near-stasis of utmost sonorous focus. Almost imperceptibly, the textures grow increasingly volatile, channeling all their repressed energy into an inevitable burst of instrumental electricity. Out of the rumors, a shadowy section remains, marked by loose melodic threads hanging mid-air between the orchestral instruments and the solo violin – a high-point in the concerto’s musical subtlety.\u003c\/p\u003e\n\u003cp\u003eRippling figurations mark the transition into a toccata-like tour-de-force passage, featuring hyper-kinetic instrumental singing from the soloist, answered by fluid orchestral propulsion. Cooling down to a riveting hall of mirrors, characterized by slowly-rotating melodic arches and dream-like woodwind pulses, the music crossed the threshold back to the surreal realm from whence it first emerged. Transformed by its journey, the concerto fades into tangible silence.\u003c\/p\u003e\n\u003cp\u003eGiven in dream-of-a-performance by D’Orazio and the LSO with Reynolds, the Violin Concerto is served with full spectrum of timbral nuance. Unraveled in ever beautifully aligned layers, the interplay between the soloist and the orchestra comes off admirably throughout the entire musical quest. Embraced with absolute control over the musical narrative, D’Orazio’s take on the solo part is nothing short of remarkable. Peerless in their studio work, the members of the LSO deliver a wonderful take on the orchestral score. Guided by Reynold’s attentive podium sensibilities, the musical discussion between the LSO and their soloist are always spot-on, their sonorous clarity being enhanced by sensitive engineering and post-production.\u003c\/p\u003e\n\u003cp\u003eA concerto for the focused listener, Palumbo’s score keeps unlocking its sonorous secrets in the course of repeated iterations, lending itself marvelously even to the most zealous close examination.\u003c\/p\u003e\n\u003cp\u003eThe title track of the album, the eighteen-minute\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eWoven Lights\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003efirst movement of the\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eChaconne\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eseems to stem from some realm interrelated – somewhat – to the pensive central sections of the Violin Concerto. An ever-permuting interplay between the fully written-out electric violin part and its real-time computer-processed echoes, interwoven with sampled sounds of glass and metal, the movement is perhaps best described as the musical equivalent of northern lights – if one is to resort into simple analogies. Sonorous aurora of gorgeous blues and greens, the tapestries of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWoven Lights\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecall forth a plethora of associations related to time and space, yielding to transformative listening experience.\u003c\/p\u003e\n\u003cp\u003eBridged with a cadential passage, the music is carried over into\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eThe Glows in the Dark\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003esecond movement. An intricate web of live and pre-recorded parts, the eight-minute soundscape gazes into the open space and nebulae beyond, zooming in and out of musical cloud-formations resulting from multiples of the solo instrument. A quest into the unknown, aural apparitions travel across the resulting contrapuntal network, to a dazzling effect. Disappearing beyond our scopes, the music dissolves into interstellar space, calling forth the listener’s mental theater to complete its narrative.\u003c\/p\u003e\n\u003cp\u003eA superlative rendition from D’Orazio and Abbrescia, the fused creativity of solo instrumental performance and its electronic reimaginations yields to veritable sonic discovery, exploring strange new worlds through shared musical ritual. Fabulously realized on the new album, the\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eChaconne\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a milestone score.\u003c\/p\u003e\n\u003cp\u003e-- Adventures in Music\u003c\/p\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":46012547367146,"sku":"7318590026250","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4160704-2923202.jpg?v=1786638619"},{"product_id":"fagerlund-autumn-equinox","title":"Fagerlund: Autumn Equinox","description":"The title of Sebastian Fagerlund's Octet 'Autumn Equinox' derives from it's links with his opera Autumn Sonata, based on the Ingmar Bergman film. Some of the moods and musical material of the opera appear in the octet, as a kind of reflection. With the instrumentation of Schubert's famous octet in mind, Fagerlund has created an intense, sometimes almost explosive work.    For Arcantio, a double bass concerto in variation form composed for and dedicated to Niek de Groot, Fagerlund imagined a musical atmosphere from some distant, archaic time. Throughout the concerto the soloist constantly guides the orchestra in new directions - at times a virtuoso, at times meditative, as if in a trance.     Sky II, originally composed for baroque ensemble, consists of a single movement that presents a fast and flowing, almost playful musical idiom. The musical expression combines dance-like rhythms, minimalism and field-like soundscapes that sweep over the listener. The fast flow of the music is interrupted only by a repeated translucent harmony, which also opens and closes the work.     No stranger to Fagerlund's work, John Storgards - who has also previously recorded the opera Autumn Sonata for BIS - conducts the Lapland Chamber Orchestra in two works, while the Octet is played by members of the orchestra.","brand":"BIS","offers":[{"title":"SACD","offer_id":46012551561450,"sku":"7318599920900","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4392294-3307392.jpg?v=1786686992"},{"product_id":"arnold-horovitz-stanford-finzi","title":"Arnold, Horovitz, Stanford \u0026 Finzi","description":"Together with pianist Michael McHale, Michael Collins continues his exploration of the chamber repertoire for clarinet. After exploring French music (BIS-2497) and the Brahms Sonatas (BIS-2557), he now turns to British music with this recital covering a hundred years of music for clarinet and piano which reflects the special relationship between English composers and this instrument.    The earliest works on this recording are the Three Intermezzi and the Sonata by Charles Villiers Stanford, who made no secret of his debt to Brahms. As with his Viennese counterpart, Stanford's music is poised yet seductive and, in this case, beautifully conceived for both instruments. Known for the strength of his vocal music, Gerald Finzi also makes the clarinet sing in his Five Bagatelles composed during the Second World War. Light and touching, they appear as a personal reinterpretation of the baroque dances found in Bach's instrumental suites.    Not surprisingly, Marcolm Arnold's Sonatina has always been popular with clarinettists, with it's energy and it's nods to jazz and dance music. Last but not least, Joseph Horovitz, the last composer in chronological order, is represented by his Two Majorcan Pieces and his Sonatina. Once again, the music is playful and makes an excellent showcase for the clarinet.","brand":"BIS","offers":[{"title":"SACD","offer_id":46012552347882,"sku":"7318599920979","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4362726-3219469.jpg?v=1786662089"},{"product_id":"romeo-juliet-tchaikovsky-on-the-piano-yevgeny-sudbin","title":"Romeo \u0026 Juliet - Tchaikovsky on the Piano \/ Sudbin","description":"\u003cp\u003eIn his liner notes, Yevgeny Sudbin remembers falling in love with Tchaikovsky's music when he was introduced to classical music. On this album, the pianist presents a collection of piano pieces and arrangements for piano, solo and four hands, of orchestral works by the great Russian composer, preceding it with a curtain raiser much-loved by Tchaikovsky himself: Mikhail Glinka's Overture to Ruslan and Ludmila. The piano pieces selected by Sudbin spans some twenty years of Tchaikovsky's career and takes in the ever-popular Barcarolle (June) and Troika (November) from The Seasons as well as three pieces from the composer's last work for piano, the 18 Pieces, Op. 72. To these are added two waltzes from The Nutcracker and Sleeping Beauty, here performed in four-hand piano arrangements with Sudbin's 12-year-old daughter Bella playing the ‘primo’ part. The pièce de resistance of this album, however, is Sudbin's arrangement of the famous overture-fantasy Romeo and Juliet in which the composer, according to Sudbin, ‘lays bare his soul and where some of his most incredible music can be found’. To the pianist, the rawness and vulnerability of human emotions' displayed in Tchaikovsky's music is almost unparalleled, something which his own performance here serve to confirm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell2_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eEvgeny Sudbin releases an entire SACD of piano music by Piotr Tchaikovsky. These are partly original works from the well-known piano cycles or Sudbin’s own transcriptions of pieces such as \u003cem\u003eWaltz of the Flowers\u003c\/em\u003e, \u003cem\u003eWaltz\u003c\/em\u003e from Sleeping Beauty, \u003cem\u003eRomeo \u0026amp; Juliet\u003c\/em\u003e Fantasy Overture and Glinka’s \u003cem\u003eRuslan \u0026amp; Ludmila\u003c\/em\u003e Overture. All of this is played with virtuosity, elegance, and brilliance. Sudbin has a phenomenal technique, he is a virtuoso of the best kind, for his playing is very musical and sensitive. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- Pizzicato (Remy Franck)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSudbin and daughter sparkle fairy dust over Tchaikovsky’s works for piano.\u003c\/p\u003e\n\u003cp\u003eDespite our emergence from the global pandemic – some of us sooner than others – lockdown projects keep popping up on disc. This one, from Russian-born, British pianist Yevgeny Sudbin, is especially rewarding, featuring enjoyable arrangements of Tchaikovsky ‘s orchestral music alongside miniature gems that are often underrepresented in recital.\u003c\/p\u003e\n\u003cp\u003eSudbin opens with a bravura take on one of Tchaikovsky’s avowed favourites: the showstopping overture from Glinka’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRuslan and Ludmila\u003c\/em\u003e. In his sleeve notes, the pianist recalls the countless times he’s been forced to wait in the wings listening to the swirling strings and thundering timpani that drive this most ubiquitous of orchestral works. His arrangement, he laughs, is by way of revenge, but the joke’s on him as it is the pianist who has to grapple here with fiendish fingerings, virtuoso flourishes and hand-numbing glissandos. That aside, it’s a rip-roaring way to open a disc and Sudbin – hands flying across the keyboard – gets the spirit of the thing just right in a no-holds-barred performance.\u003c\/p\u003e\n\u003cp\u003eThe disc concludes with a real coup: Sudbin’s arrangement of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOverture-Fantasy Romeo and Juliet\u003c\/em\u003e, a work easily taken for granted, but one that reveals remarkable depths in its solo piano guise. From its brooding, Russian-infused opening (which here exudes the spirit of Mussorgsky), through the fireworks of the rival houses and the Lisztian swell of the famous lovers’ theme, this tour-de-force transcription really hits the mark, especially in Sudbin’s astute and heartfelt reading.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e-- \u003c\/em\u003eLimelight\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012553756906,"sku":"7318599921983","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4169734-2935701.jpg?v=1786684582"},{"product_id":"bruhns-cantatas-and-organ-works-vol-1-suzuki-yale-institute","title":"Bruhns: Cantatas and Organ Works, Vol.1 \/ Suzuki, Yale Institute of Sacred Music","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhen he died, Nicolaus Bruhns was just 31 years old, and only twelve of his vocal works and five organ compositions have survived. On the strength of these, he is nevertheless considered one of the most prominent North German composers of the generation between Buxtehude and Bach.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBuxtehude was in fact Bruhns's teacher, and thought so highly of him that he recommended him for a position in Copenhagen. There he worked as a violin virtuoso and composer until 1689, when he returned to Northern Germany to become organist in the main church of Husum. It was here that most if not all of the extant works were performed. According to Bach's obituary, Bruhns was one of the composers that he took ‘as a model’, and he is therefore naturally of interest to Bach specialist Masaaki Suzuki.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn this first of two discs made in collaboration with the Yale Institute of Sacred Music, Suzuki directs – from the organ – a group of singers and musicians, in six of the vocal works: so-called ‘sacred concertos’ scored for 1-3 soloists and various combinations of strings with basso continuo. Suzuki’s performances of two organ pieces by Bruhns – the larger of the two preludes in E minor, and the fantasia on the chorale Nun komm, der Heiden Heiland – appear here as well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell4_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eThese performances by famed Bach conductor Masaaki Suzuki were recorded in 2016 and 2017 at Yale University in the U.S. but not released until 2022. Bruhns is closer to Buxtehude (and there's even the flavor of Heinrich Schütz) in these chamber cantatas than he is to Bach. Suzuki directs these pieces from the organ and gets wonderful results from the Yale Institute of Sacred Music choir; if it originally had an American sound, Suzuki smooths it out. His soloists are not quite the equal of those he assembled in Japan, but they are idiomatic and fully equal to the music, perhaps consistent with what the composer would have heard. A wonderful Baroque release commended to anyone with the slightest interest in Bach and his world.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- AllMusic.com\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012554576106,"sku":"7318599922713","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4046029-2791274.jpg?v=1786694519"},{"product_id":"satie-piano-music-vol-5-esoterik-satie","title":"Satie: Piano Music, Vol. 5 - \"Esoterik Satie\" \/ Ogawa","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor the fifth volume in her series of Erik Satie's piano music, Noriko Ogawa reaches back to an early period in the composer's life. A large part of the program comes from Satie's so-called mystical period. Influenced by medieval plainsong and avoiding all pathos, Satie resorted to austere melodies based on rhythms and harmonies simplified to the extreme; he turned away from the concepts of development and variation in favour of simple repetition of perfectly symmetrical phrases. In other words, he broke completely with the classical-romantic tradition. In its purity and abstraction, Satie’s music from this period seems surprisingly modern by comparison with that of his contemporaries. The title of this volume is Ésoterik Satie, a nickname given to the composer during the period when he began a collaboration with Joséphin Peladan, the grand-master of the ‘Rose-Croix catholique du temple et du graal’, an artistic movement close to symbolism and esotericism. Satie’s fascination for the Middle Ages is reflected not only in the music itself, but also in the titles of some works, such as Ogives (the pointed arches of Gothic architecture), Danses gothiques or Fête donnée par les Chevaliers Normand.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell5_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eNoriko Ogawa is a sure guide to these pieces. She plays them on an 1890 Erard piano, which has a bright, clear, rather shallow tone. The booklet is very informative, though the pieces are not played in the order in which they are discussed. These works are best taken a few at a time. Satie’s world is intense but it is also narrow, and the pieces here are all rather similar.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- MusicWeb International\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012557918442,"sku":"7318599923451","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4057308-2790514.jpg?v=1786694528"},{"product_id":"eliasson-symphonies-nos-3-4-and-trombone-concerto","title":"Eliasson: Symphonies Nos 3 \u0026 4; Trombone Concerto","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn into a working-class family, Anders Eliasson’s earliest musical experiences originated from within himself: ‘they were my own singing, and tunes I heard on the radio’. At the age of nine he began to play the trumpet, and soon after he became the leader of a jazz band for which he wrote arrangements. Aged 14, he found a local organist to teach him harmony and counterpoint, and at 16 he left his hometown for Stockholm to study privately. In 1966 Eliasson enrolled at the Royal College of Music in Stockholm, studying the various techniques and trends of modernism, from dodecaphony to musique concrete. But in the end he found it impossible to ‘break away from more than a thousand years of tradition’, as he put it: ‘Music is like H2O: melody, harmony and rhythm are a single entity. And it has to flow.’ The three works recorded here – all for the first time – are examples of the highly personal idiom he developed as a consequence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eREVIEW:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEliasson’s Symphony No 3 operates on a continuous weave, the saxophone often riding its surface, whose tightness can put a clamp on the music. To my ears the modality sounds restrictive, rather than a parameter to prompt greater creativity. There are some fine moments, none better than the celestial transition from the ‘Fremiti’ third movement to the ‘Lugubre’ fourth (of five).\u003c\/p\u003e\n\u003cp\u003eSimilarly, Eliasson’s Trombone Concerto is a work of deeper structural principle than the label ‘concerto’ might denote and one in which the composer instructed the dedicatee Christian Lindberg to ‘play like a caged bird’. Once more the music can chase its own tail, without the degree of structural fascination or universal vision – the sort Nørgård finds from even more restrictive means – that might have rendered such a chase thrilling.\u003c\/p\u003e\n\u003cp\u003eThank heavens for Eliasson’s Symphony No 4, in which the composer’s obsessive compositional personality yields embracing fruits. Here the tonal journey is better defined, the development of a single motif clearer and more ripe, the textures more varied and the feeling generally more visceral. \u003c\/p\u003e\n\u003cp\u003eAll said and done, a mixed bag. But the soloists give their works everything and the conductors don’t shirk on Eliasson’s firm principles, even if Oramo has more to work with.\u003c\/p\u003e\n\u003cp\u003e-- Gramophone\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012559458538,"sku":"7318599923680","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4037929-2775793_99fab4a7-8005-4e07-8395-f614c9267f0f.jpg?v=1786682973"},{"product_id":"brahms-symphonies-nos-3-4","title":"Brahms: Symphonies Nos. 3 \u0026 4","description":"Recently awarded the prestigious Brahms Prize of the  Schleswig-Holstein Brahms Society, Kent Nagano and  the Hamburg Philharmonic State Orchestra, of which he  was principal conductor from 2015 until 2025, perform  the last two symphonies by the Hamburg-born  composer, recorded in concert.    The most personal of Johannes Brahms's four  symphonies, the Third is both heroic and deeply  troubled; moreover, all four movements end quietly.  After the heroism of the First Symphony and the  pastoral flavours of the Second, the Third Symphony  reveals Brahms at a crossroads: the youthful impulses  are now reined in and the mood is more one of  profound reflection on life and death. The theme of the  slow movement has been adapted many times and even  sung by Frank Sinatra under the title of 'Take My Love'.    The Fourth Symphony might be described as the most  classical of Brahms's symphonies, not least because of it's  chaconne finale, a variation form inherited from the  baroque era. Described as an 'autumn symphony' or  'elegiac', it's mood is sometimes tormented and fiery,  sometimes harsh and solitary. The culmination of a  genre that cost him so much effort, the Fourth is the last  word of Brahms the symphonist; he would never  compose another work of this kind.","brand":"BIS","offers":[{"title":"SACD","offer_id":46012560277738,"sku":"7318599923741","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4420732-3383646.jpg?v=1786680660"},{"product_id":"brahms-cello-sonatas-schumann-funf-stucke-im-volkston-poltera-brautigam","title":"Brahms: Cello Sonatas Nos. 1 \u0026 2 - Schumann: 5 Pieces \/ Poltera, Brautigam","description":"\u003cp\u003eSix years after their acclaimed disc devoted to Mendelssohn’s works for cello and piano, Christian Poltera and Ronald Brautigam now tackle the two cello sonatas by Johannes Brahms, two central works in the repertoire, unquestionably the most important since those by Beethoven.\u003c\/p\u003e\n\n\u003cp\u003eThe First Cello Sonata was composed between 1862 and 1865 when Brahms was in his thirties. He seemed intent on showcasing the lyricism of an instrument that is often compared to the human voice. Composed 24 years later, the Second Cello Sonata makes greater use of the cello’s range, particularly in the upper register. A common feature of these two sonatas is that the role of the piano is never secondary (Brahms was an excellent pianist) and the dialogue between the two instruments is both inexhaustible and complex.\u003c\/p\u003e\n\n\u003cp\u003eThe programme also includes the Funf Stucke im Volkston (Five Pieces in Folk Style) by Robert Schumann, Brahms’s early mentor. Composed in Schumann’s late years, this short cycle reflects the composer’s taste for small, expressive pieces in, as the title suggests, a popular and accessible idiom. These miniatures draw their charm not only from the cello’s marvellous nuances but also from the ‘folk style’.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012562571498,"sku":"7318599924274","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4289546-3146852.jpg?v=1786638741"},{"product_id":"dean-rooms-of-elsinore","title":"Dean: Rooms of Elsinore","description":"'The five pieces featured on this recording are the result of an extended fascination and confrontation with Shakespeare's Hamlet', writes Brett Dean in his introductory text, going on to explain that the intention of this programme is to be 'a sonic exploration of the spaces, atmospheres and archetypes of emotion and character in which, and through which, the tragedy of Hamlet unfolds'. These works derive, each in it's own way, from an opera, Dean's take on the topic of Hamlet, premiered in 2017.    And once I played Ophelia for soprano and strings focuses on the often-misjudged character of Ophelia. Rooms of Elsinore for viola and piano, here played by the composer on the viola, feels like a drone flying over the castle of Helsingør, the play's supposed setting, moving from room to room. Gertrude Fragments for mezzo-soprano and guitar appears like a tribute to the art of lute songs - which are contemporary with Shakespeare - and centres on the complex character of Hamlet's mother, Gertrude. Examining the monologue of Hamlet's remorseful uncle Claudius, Confessio for bass clarinet solo explores the possibilities of the instrument. Finally The Players, a concerto for accordion and small orchestra, revisits the players' scenes from the first act of Dean's opera.    A fascinating musical exploration of this most iconic of literary masterpieces.","brand":"BIS","offers":[{"title":"SACD","offer_id":46012565029098,"sku":"7318599924540","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4357689-3203639.jpg?v=1786636498"},{"product_id":"aho-concertos-for-violin-cello-7318599924663","title":"Aho: Concertos for Violin \u0026 Cello \/ Elts, Kymi Sinfonietta","description":"\u003cp\u003eHaving broken off work on a second violin concerto in 2012, the prolific Finnish composer Kalevi Aho only returned to the project after being contacted by the violinist Elina Vähälä. While aware of the weight of tradition and eager to avoid the pitfalls of violinistic clichés, Aho nevertheless wrote a virtuoso work dominated by the soloist, who is offered many possibilities to realise her own interpretative conception. The orchestral part was specifically composed for the Kymi Sinfonietta with its sound in mind. With his second cello concerto, Aho also wanted to write a piece that orchestras of the size of a sinfonietta could include in their programmes. Here too the solo writing is particularly well suited to the instrument. The youngest winner of the International Tchaikovsky Competition in 2015, cellist Jonathan Roozeman takes on this work in five movements played without interruption and in the last section delivers a cadenza as unusual as it is clever. The Kymi Sinfonietta is conducted here by Olari Elts, a champion of contemporary Baltic composers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe music of composer Kalevi Aho is difficult to categorize among the various schools of the day. It is broadly expressive, and in these two concertos, Aho uses virtuosity in a thoroughly Romantic way. Yet the rigor of their construction is of a thoroughly modern kind. Consider the solo passage in the middle of the first movement of the Violin Concerto No. 2. It is… what, exactly? A cadenza? Aho uses the word in his informative notes, but it is really more of a distillation of what has happened previously. The entire movement is filled with powerfully difficult violin writing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe edgy Violin Concerto and the lyrical, rather moody Cello Concerto are quite different in character, but both balance complex instrumental writing with long orchestral passages in inventive ways. The Violin Concerto has the unusual feature of having been written not only for its soloist, Elina Vähälä, but also for its orchestra, the Kymi Sinfonietta, and it holds together tightly; both works were conceived in chamber orchestra terms. The Kymi Sinfonietta is a remarkable example of the deep bench of Finnish orchestral music. Both of these works ought to be more widely played in concert, and it may be that this fine recording will help make that happen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e-- AllMusic.com\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012567421162,"sku":"7318599924663","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4169735-2935702_8fbf4902-5a83-4cab-9751-306f39a3768f.jpg?v=1786635871"},{"product_id":"shostakovich-jazz-variety-suites","title":"Shostakovich: Jazz \u0026 Variety Suites \/ Litton, Singapore Symphony Orchestra","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eDmitri Shostakovich was a versatile composer: popular and serious styles came to him with equal ease and are frequently found together in the same work. In his twenties, before the heavy hand of Soviet officialdom slapped him down in 1936, music of every kind poured out of him: symphonies, operas and full-length ballets but also a great amount of music for film and theatre. Here Andrew Litton leads the Singapore Symphony Orchestra in a program which explores this lighter side of a composer who is otherwise often regarded as unrelentingly serious.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe album opens with \u003cem\u003eSuite for Jazz Orchestra No. 1\u003c\/em\u003e, which Litton conducts from the piano. Consisting of three brief movements, it is the only truly original work on the disc, written in 1934 for a competition aimed at making ‘Soviet Jazz’ more respectable. The remaining suites are all reworkings of existing music, such as the ballets \u003cem\u003eThe Age of Gold\u003c\/em\u003e – about the adventures of a Soviet football team visiting the decadent West – and \u003cem\u003eThe Limpid Stream\u003c\/em\u003e, portraying a group of entertainers visiting an idyllic collective farm. The \u003cem\u003eSuite for Variety Orchestra\u003c\/em\u003e is a compilation that the composer made in the late 1950s from three film scores, a ballet movement and four piano pieces. Closing the album is Shostakovich’s 1927 orchestration of a Broadway classic, Vincent Youmans’ \"Tea for Two,\" which had become a hit under the title \"Tahiti Trot.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEntitled \u003cem\u003eJazz \u0026amp; Variety\u003c\/em\u003e, this album encompasses four of Shostakovich’s more popular-style suites, mainly drawn from his ballet and theatre scores. These range from the poker-faced, Kurt Weill-like stylization of 1920s dance music, complete with plunking banjo, in the \u003cem\u003eSuite for Jazz Orchestra\u003c\/em\u003e No. 1 (1934), via the Prokofiev-like burlesques of \u003cem\u003eThe Age of Gold\u003c\/em\u003e – a 1930 ballet about the vicissitudes of a Soviet football team in the wicked West – to the more straightforwardly traditional ballet numbers of \u003cem\u003eThe Limpid Stream\u003c\/em\u003e(1935\/45) set on an idyllic collective farm, and the \u003cem\u003eSuite for Variety Orchestra\u003c\/em\u003e put together from various pieces from the 1950s.\u003c\/p\u003e\n\u003cp\u003eOne item, the Waltz from the \u003cem\u003eJazz Suite\u003c\/em\u003e, recurs twice: more fully orchestrated in \u003cem\u003eThe Limpid Stream\u003c\/em\u003e, and in yet a third arrangement with a different, more banal middle section, in the \u003cem\u003eVariety Suite\u003c\/em\u003e. The collection culminates in Shostakovich’s twinkling orchestration of a version of ‘Tea for Two’, entitled \u003cem\u003eTahiti Trot\u003c\/em\u003e (1927). Yet, in the middle of all these frolics, the searing intensity of the extended \u003cem\u003eAdagio\u003c\/em\u003e from \u003cem\u003eThe Age of Gold\u003c\/em\u003e reminds us of the other, tragic side of Shostakovich.\u003c\/p\u003e\n\u003cp\u003eAndrew Litton and the Singapore Symphony Orchestra lavish more care and subtlety on these pieces than the quality of invention in some of the music maybe deserves, additionally flattered by BIS’s spacious recording – though the \u003cem\u003eJazz Suite \u003c\/em\u003emight have more bite in a drier acoustic. Still, this is a superior collection for those who relish this lighter, sometimes naughtier side of Shostakovich.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- BBC Music Magazine\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012568174826,"sku":"7318599924724","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069273-2804778.jpg?v=1786694593"},{"product_id":"pettersson-symphony-no-15-viola-concerto","title":"Pettersson: Symphony No. 15, Viola Concerto \/ Nisbeth, Lindberg, Norrköping Symphony","description":"\u003cp\u003eAllan Pettersson’s Symphony No. 15 is characterized by a high degree of tension right from the striking opening: brief, emphatic chords from horns and trombones above the tremolo of a side drum. Soon an expressive melodic subject is heard from the first violins, followed by contrasting rapid scales – at which point Pettersson has presented the greater part of the symphony’s building blocks. Like so many of the composer’s symphonies, the 15th is in one movement, but with clearly defined sections. It was completed in 1978, two years before Pettersson’s death, and was followed in 1979, by the sixteenth symphony, the last work that the composer submitted for performance. Only later did it become known that Pettersson had also been working on a Viola Concerto – a work that, if not fully completed, was so far advanced that it has been accepted as part of his œuvre. It is presented here by the Swedish violist Ellen Nisbeth, who also performs one of Pettersson’s very earliest compositions – a Fantaisie pour alto seul, dated June 1936, when the composer himself was about to embark on a career as violist. On this the tenth disc in their acclaimed Pettersson cycle, the Norrköping Symphony Orchestra and Christian Lindberg bring their combined expertise to bear on the orchestral scores.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012570501354,"sku":"7318599924809","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4098028-2841276.jpg?v=1786676552"},{"product_id":"mahler-symphony-no-8-vanska-minnesota-orchestra","title":"Mahler: Symphony No. 8 \/ Vänskä, Minnesota Orchestra","description":"\u003cp\u003eFor its final concert of the 2021–22 season and Osmo Vänskä’s last as artistic director, the Minnesota Orchestra chose to present Mahler’s mammoth Eighth Symphony, which calls for one of the largest complement of performers in the history of music, a symbol of the communitarian spirit of collective cultural, social, and religious-philosophical endeavor in what has been referred to as a ‘Mass for the Masses’.\u003c\/p\u003e\n\u003cp\u003eMahler’s Eighth Symphony, unlike his others, reveals no contrary despairing voice. It is instead a monumentally affirmative expression of human spiritual achievement achieved through the union of two seemingly incompatible texts: the Latin hymn Veni Creator Spiritus and the conclusion of the second part of Goethe’s Faust. Its première in Munich in September 1910 gave rise to the greatest triumph of Mahler’s career, and a rollcall of European royalty and the artistic élite attended the final public rehearsal and the performances.\u003c\/p\u003e\n\u003cp\u003eThe Minnesota Orchestra and Osmo Vänskä are here joined by Carolyn Sampson, Jacquelyn Wagner, Sasha Cooke, Jess Dandy, Barry Banks, Julian Orlishausen, Christian Immler as well as the Minnesota Chorale, the National Lutheran Choir, the Minnesota Boychoir and the Angelica Cantanti Youth Choir.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012574597354,"sku":"7318599924960","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4262669-3075304.jpg?v=1786639606"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/collections\/3_452bbff4-89ce-4860-9019-ce2f95169532.png?v=1786976481","url":"https:\/\/arkivmusic.com\/collections\/bis-sale-2026.oembed?page=3","provider":"ArkivMusic","version":"1.0","type":"link"}