Previously unreleased recordings of Sweden's most legendary jazz groups and artists, curated from the Swedish Jazz Archives.

Jenna Nyman

When 23-year-old Hector Berlioz saw Shakespeare's "Romeo and Juliet" on stage for the first time in 1827, he was deeply moved by the experience, probably not least because of the Irish actress Harriet Smithson, who played Juliet. She became Berlioz's wife in 1833, and another six years later he completed his chorus-symphony "Romeo et Juliette", Op. 17. "Romeo et Juliette" is by no means intended as an attempt to transpose Shakespeare's drama as faithfully as possible; not a single verse of Shakespeare's text was included in the libretto, which was written by the poet emile Deschamps based on Berlioz's drafts. When the Prologue refers to Shakespeare as the only person who knew the highest secret of poetry, it is clear that the listener is deliberately placed in Berlioz's perspective, whose imagination is ignited by Shakespeare's genius. As in the case of the "Harold" symphony based on Byron, Berlioz adapts the original very freely. In both cases, he develops entire movements from episodes that are of only minor importance in the poem and adds scenes that do not appear there at all. The present live recording from 1982 showcases Gary Bertini at the peak of his career, conducting the Stuttgart Radio Symphony Orchestra of the SWR. An exquisite cast of singers - Alfreda Hodgson, Philip Langridge and John Shirley-Quirk - as well as internationally renowned choirs like the Chor des Bayerischen Rundfunks and the SWR Vokalensemble (known until 1998 as Sudfunk-Chor) accompany him in the performance of one of the most complex symphonic works of the Romantic era.

The Netherlands Radio Choir and Benjamin Goodson present The Voice of the Beloved, a powerful collection of 20th-century sacred choral works by Frank Martin, Jean-Yves Daniel-Lesur, and Olivier Messiaen. At it's heart is Martin's Mass for Double Choir, a deeply personal expression of faith composed in 1922 and kept private for decades. It's austere beauty and luminous harmonies make it one of the most moving sacred works of the last century. Daniel-Lesur's Le Cantique des cantiques transforms the Song of Songs into a sensual and spiritual choral tapestry, weaving up to twelve voices into a radiant soundscape. Messiaen's O sacrum convivium, a brief but transcendent motet, completes the program with shimmering reverence. Following their acclaimed 2023 release Rheinberger & Mendelssohn: Choral Works, the choir returns with a recording that reveals the sacred not only in worship, but in the raw, expressive power of the human voice.

Jenna Nyman

A journey through passion, vision, and sensuality, this album brings together three luminous works for voice and orchestra. At it's heart is Ernest Chausson's Poeme de l'amour et de la mer, Op. 19-a sweeping, late-Romantic meditation on love and loss, where human emotion dissolves into the vastness of the sea. Benjamin Britten's Les illuminations, Op. 18, follows with electric intensity, setting Rimbaud's vivid, surreal poetry in music that is both incisive and radiant. The program closes with Camille Saint-Saens' rare and intimate Extase, a delicate song of rapture and surrender. Tenor Edgaras Montvidas brings refined lyricism and emotional depth to this richly poetic repertoire, joined by the Lithuanian Chamber Orchestra, the Lithuanian National Symphony Orchestra (for the Chausson), and conductor Modestas Pitrenas. An exploration of love, language, and longing-where music becomes poetry, and poetry sings. Recorded at Lithuanian National Philharmonic Hall June 2021

A rarely heard, fascinating solo instrument and an internationally multi-award-winning performer: on the new GENUIN album "From Keys to Strings", we are presented with an exciting combination! For her prizewinner production from the 2023 ARD Music Competition, harpist Tjasha Gafner has put together an unusual program in which she arranged works for her instrument. These are pieces that Joseph Haydn and Wolfgang Amadeus Mozart originally wrote for keyboard - or, in the case of Johann Sebastian Bach, for lute (or a lute-harpsichord?). The clarity and transparency of both transcription and interpretation by this outstanding young harpist provide surprising insights and new listening experiences!

Orjan Hulten

In 1392, King Charles?VI of France was declared insane. In the midst of the Hundred Years' War, his repeated absences left the field open to princes hungry for power and wealth. Thus began three dark decades for the kingdom of France, torn apart by civil war between Armagnacs and Burgundians, scarred by the bloody defeat at Agincourt, and ultimately handed over to the English crown in 1420. This is the epic tale Into the Winds brings to life, shedding light on a period as fascinating as it is overlooked, where the contours of a new musical art were already taking shape.

The key to Buxtehude's trio sonatas, both for performers and for listeners, is an awareness of the stylus fantasticus which German composers of the late 17th and early 18th centuries developed in response to the new freely inventive style of Italian composers such as Claudio Merulo and Girolamo Frescobaldi. 'It is the most free and unrestrained method of composing,' wrote one contemporary theorist. 'It is bound to nothing, neither to any words nor to a melodic subject, instituted to display genius and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues.' The seven sonatas in each of these collections, published in Hamburg in 1696, offer a continuous succession of short movements, up to eight per sonata, which alternate between slow and fast tempi, and improvisatory and contrapuntal textures, dominated by a dazzling array of ostinato variations which embed the melodies in the listener's consciousness. We encounter witty solos, dialogues and conversations, sublime suspensions, jaunty syncopations and occasional excursions into strange and modal harmony. The expressive range is accordingly wide, venturing in Op.1 No.6 into a D minor realm of darkness and desperation. The musicians on this new recording of Buxtehude's trio sonatas are experienced and skilful practitioners of Baroque style, with an impressive catalogue of albums on Brilliant Classics to their credit. Valerio Losito has recorded the violin sonatas of Scarlatti, Telemann and Tessarini, among others, while Simone Stella has made complete surveys of the organ and harpsichord output by Froberger and Pachelbel - 'performed with natural flair, especially with respect to clarifying counterpoint' (Gramophone). Simone Stella introduces these fascinating works, milestones in the history of German-Baroque chamber music, with an extensive booklet essay. This is 'music full of lyrically delicate, sorrowful, and dramatic emotions,' he says, 'as well as melodious, harmonically gratifying, and full of vitality, a world of sound that consecrates him as a unique genius in the Pantheon of Music.' - Dietrich Buxtehude (c. 1637-1707) was a prominent German-Danish composer and organist of the Baroque period, renowned for his influence on later composers such as J.S. Bach and Handel. Best known for his sacred vocal music and virtuosic organ works, Buxtehude also wrote a substantial body of chamber music. - Published in 1694 and 1696 respectively, Buxtehude's Trio Sonatas comprise two sets of seven sonatas each. On this recording they are played with one violin, viola da gamba and harpsichord. These works represent a blend of German counterpoint and Italianate style. The sonatas are notable for their variety of forms, including fugal sections, dance movements, and expressive slow passages, the inventive use of harmony and rhythmic vitality reflecting the lively spirit of the early Baroque. The Op.1 and 2 sonatas are among the earliest significant instrumental works in Northern Germany, and they contributed to the development of the sonata genre. - Played by three foremost representatives of the Italian Historically Informed Performance Practice: Valerio Losito, Bettina Hoffmann (viola da gamba) and Simone Stella. Valerio Losito successfully recorded for Brilliant Classics works by Tessarini, Veracini, Dal Barba, Telemann and Alessandro Scarlatti.

Ning Feng, together with the Konzerthausorchester Berlin conducted by Antony Hermus, releases the violin concertos of Johannes Brahms and Carl Goldmark. This pairing is particularly apt as these works were both written in 1877, and the composers were dear friends. In Goldmark's lyrical Violin Concerto, Ning Feng plays the original 5-minute cadenza which is seldom heard in it's entirety. Written only a few months after the Goldmark, Brahms' famous Violin Concerto in D, Op.77 needs little introduction. Ning Feng has long been associated with this concerto, having played it when he won First Prize in the International Paganini Competition 2006 as well as First Prize in the 2005 Michael Hill International Violin Competition.

Using simple means -yodeling, musical bow, mouth harp, gong, drum and voice- the Adadi of Atauro share their sorrows and joys, both intimately and collectively. The Atauro island has around 10,000 inhabitants, divided into three ethno-linguistic groups, of which only the Adadi (around 2,000 people) have preserved a varied musical practice, despite the fact that it (and their language) is in serious danger of extinction. The music gives rhythm to the walks to the fields, and enhances the harvest of palm wine morning and evening. It often brings tears to the eyes, but softens sadness and intensifies joy at celebrations that include all age groups and genders. Despite an abrupt interruption in transmission in 1974 by Christian missionaries, certain forbidden ritual songs are still remembered.

Echoes of birds, water, and wind: on her refreshingly unconventional debut album with GENUIN, the young musician Sophia Schambeck presents flute compositions spanning nine centuries. New works stand alongside ancient ones, solo pieces are interwoven with ensemble music, Irish melodies contrast with Japanese ones, and original works are placed beside arrangements. Listeners are drawn into fascinating sonic worlds ranging from Hildegard von Bingen to the present day - performed on no fewer than thirteen different recorders. This acoustic universe, shaped by a musician devoted to connecting styles and cultures, fills us with wonder and deep emotion.

Step into a world of musical elegance with this release featuring solo piano interpretations of the most famous compositions by J.S. Bach. This album is a celebration of Bach's genius, showcasing the intricate beauty and emotional power of his work through the expressive medium of solo piano. Performed by Tim Allhoff who has collaborated with an impressive array of musicians and ensembles, including Larry Grenadier, Jeff Ballard, Robbie Williams, Jules Buckley, Vision String Quartet, and many more, this collection promises to deliver a rich listening experience that bridges tradition and innovation. Each piece is thoughtfully crafted to highlight the depth and complexity of Bach's compositions, making them accessible and captivating for both seasoned listeners and newcomers alike.

Marcy Rosen and Diane Walsh present fresh readings of three masterpieces from the cello repertoire. Ms. Rosen studied Barber's cello sonata with Orlando Cole, who worked closely with Barber on the editing of the composition, later premiering the work with Barber at the piano at New York City's Town Hall in 1933.