For it's first recording for BIS Records, the Marmen Quartet tackles three major works from the twentieth-century string quartet literature. The two quartets by Gyorgy Ligeti belong to two different periods in the composer's output. Written before Ligeti left Hungary and emigrated to the West, the First, subtitled 'Metamorphoses nocturnes', represents the peak of his 'Hungarian' period. Regarded as a virtuoso exercise, the work reveals the influences of Bela Bartok, particularly from his Third and Fourth Quartets. Ligeti's Second Quartet belongs to his second period, particularly rich in significant works. Considered by the composer as a response to the works of his illustrious predecessors such as Mozart, Beethoven, Bartok and Berg, the Second Quartet, with it's calculated anarchy, dynamic extremes and sublime climaxes, is not only one of Ligeti's masterpieces but also a true classic of modernism. Bela Bartok's Fourth Quartet, which had a particularly strong influence on Ligeti, is widely seen as one of his most radical; it requires high levels of technical accomplishment from the performers, yet reveals a deep understanding of the instruments, and draws an unprecedented range of colour and character from them.

Finnish composer Kalevi Aho has produced a considerable and varied body of work that continues to grow rapidly. Aho first tackled the genre of string quartet at the very beginning of his composing career, more than fifty years ago, and has only recently returned to it. Aho was only 18 when he completed his String Quartet No. 1 in 1967. Self-taught at the time, Aho took his inspiration from the essentially tonal music he played on the violin or heard on the radio. The Second Quartet was composed in 1970, during his second year of studies at the Sibelius Academy in Helsinki with Einojuhani Rautavaara and uses fugue technique in each of it's movements. The first performance of the quartet received excellent reviews and marked a minor breakthrough for Aho as a composer. The Third Quartet dates from the following year and marks the end of Aho's studies with Rautavaara. In this work Aho's personal language begins to emerge, although the influence of Shostakovich can also be heard. The work was a great success and has been performed more often than any of his other chamber compositions. The three string quartets are performed here by the Stenhammar Quartet, one of Scandinavia's leading string quartets, whose extensive repertoire gives prominence to contemporary music from the Nordic countries.

This album represents a trove of new and never-before recorded songs from the Kazuno region in northern Japan world premiere recordings. Many of the works by renowned local Kazuno children's song composers were largely unknown with beautiful melodies, even though the Japanese culture reveres children's songs, taught to children and sung often by both children and adults. The scores for these children's songs were not published for commercial sale and were believed to be inaccessible but were lent to soprano Wakako Kawasaki by two individuals residing in Kazuno who possessed complete children's songs collections of composers Jujin Odajima and Takatomo Kurosawa for this recording project, as these works of these great composers from Kazuno were not even being sung in their hometown. These collections were used as the base works for the album in addition to pieces composed by Sapporo composer Kyoichi Enda, inspired by Japanese author Ryusuke Saito's story of the Kazuno floods. The album also includes a revival performance of "Dainosaka," a song associated with the Kemanai Bon Dance not sung since the early Showa period (1926-1989), arranged with piano accompaniment by Dr. Akiko Hosaki. Today "Dainosaka" is performed only with flute, drum, and dance, but historical records indicate it was accompanied by song as well. "Dojokko Funakko," was discovered on an original song monument at a temple in Kazuno and added to the album. The album is the result of years of research and discussions with Japanese musicologists in order to create a collection which will be historical in the annals of Japanese music

To mark the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is now making previously unreleased recordings of concerts available on CD and as a stream. The six-part composition My Melodies for eight horns and orchestra was composed between 2016 and 2018, revised for the first time in 2019, and then again in 2023 as the musica viva Munich version. It was commissioned by Bavarian Radio’s musica viva with the support of the Friends of the Bavarian Radio Symphony Orchestra e.V. This is a live recording of the premiere of the Munich 2023 version on June 23, 2023, from the Herkulessaal, again as part of BR's musica viva concert series, with the horn section and the Bavarian Radio Symphony Orchestra under the direction of Matthias Hermann.

Helmut Lachenmann, born in Stuttgart in 1935, is one of the most renowned German composers of contemporary music. He studied piano, music theory, and counterpoint in Stuttgart and composition with Luigi Nono in Venice. The first public performances of his works took place in 1962 at the Venice Biennale and at the Darmstadt Summer Courses for New Music. He taught composition in Hanover (1976-1981) and in Stuttgart (1981-1999), and gave numerous master classes in Germany and abroad. His works are performed by internationally renowned players and orchestras all over the world. Helmut Lachenmann has received numerous awards, most recently the GEMA German Music Authors' Prize for his life's work (2015).

The phenomenon of melody has long preoccupied Helmut Lachenmann. He went to study in Venice at the end of the 1950s with Luigi Nono, a teacher who strictly insisted on a critically reflective approach to musical material. Nono had objected to any trace of linear progression in Lachenmann's compositional sketches as a "tonal cell" – a melodic object that was seen as a recourse to a romanticizing tonal language that had to be overcome. The impetus for the scoring of My Melodies came from a rehearsal of Lachenmann's opera The Little Match Girl in Madrid in 2008: eight horns forming a homogeneous yet at the same time complex instrument. The premiere took place ten years later. In 2023, My Melodies was extended by 77 additional bars since that first performance, with Lachenmann drawing on further sketch material. It is rare for the composer to alter his own works after their premiere - but the sound ideas for the eight horns seem to have retained a special fascination for him. The bonus tracks offer short excerpts from this concert recording of My Melodies. They present characteristic passages of the work, inviting listeners to detect specific noises or sequences and to familiarize themselves with Lachenmann's world of sound.

Introducing the debut solo album, "Phaethon, Becalmed," by Ben J. Connolly - a member of Berlin's alternative pop band, ALL THE LUCK IN THE WORLD. This project draws inspiration from the Greek myth of Phaethon, who sought to prove his parentage by driving his father's Sun Chariot across the sky, inadvertently causing ecological chaos and meeting a tragic end.
Collaborating with Echo Collective on strings, Ramon Lormans on tuned percussion (Stargaze), and Andrew Dickinson on vocals (Dt. Oper), the album comprises 17 pieces that intricately weave together to narrate Phaethon's tale. The instrumentation includes piano, strings, synths, and electronics, creating a calm and relaxed musical atmosphere.
The album unfolds like a story, with interwoven themes marking each chapter of Phaethon's journey. The diverse musical palette captures the essence of the myth, offering a tranquil and immersive listening experience. "Phaethon, Becalmed" invites listeners to explore the narrative through a blend of classical and contemporary elements.
This project goes beyond a mere musical release, offering a thoughtful exploration of myth and storytelling through sound. It's a unique opportunity to engage with a rich tapestry of emotions and experiences.

Metamorphoses: this is what Duo Amabile is in search of. In their concept album, Paula Breland, clarinet, and Anna-Katharina Schau, accordion, zoom into the processes of upheaval and new beginnings to offer their listeners transgressive listening experiences and to immerse themselves in a common"liminal moment". Featuring top-notch musical performances, this album combines works composed especially for the duo by René Kuwan, Michaela Rea Catranis and Marín Donoso Vera together with thematically appropriate movements from Edward Elgar's famous Enigma Variations. All the new works are presented here in world premiere recordings!

For her second album with naïve, Zlata Chochieva has chosen a magnificent, audacious program, associating Schumann, Ravel, Liszt and Bartók with the lesser known Draeseke and Schulz-Evler. Sensitive to nature and to the emotions it inspires, the Russian pianist Zlata Chochieva has conceived this very personal album as a patchwork, sometimes inward-looking, landscape with changing skies. “A recorded program is not a concert program, but I also wanted to tell a story, propose a whole tapestry of emotions, open different perspectives,” she confides.

The French pianist Jean-Paul Gasparian has chosen Debussy for his first album with naïve, an album full of sensitivity and colour, including the first ever recording of the transcription of the Rondes de printemps. With this album devoted solely to Debussy, Jean-Paul Gasparian invites listeners to integrate the atmospheres, colours and timbres that make up Debussy’s world. ‘The piano, here,’ he says, ‘is a tool that lets your imagination wander, a machine that creates perceptions. Like a sort of stationary journey.’ It is also an opportunity for Jean-Paul Gasparian to show us another facet of his temperament, already seen in Rachmaninoff and the Romantic repertoire, and return to his beginnings.