Nordic & Alpine Europe
Swedish nyckelharpa, Norwegian Hardanger fiddle, and Finnish kantele from the far North, the songs of the Sami people, and the alpine and yodel traditions of Austria, Bavaria, and Switzerland — the music of mountains and long winters.
37 products
Beethoven, L. Van: Piano Trios - Opp. 1, 11 / Allegretto, Wo
Nimbus
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Sep 01, 2002
Classical Music
Shostakovich, D.: Piano Trios Nos. 1 and 2 / Schnittke, A.:
Nimbus
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Sep 01, 2002
Classical Music
Folk Music from Norway
ARC Music
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$20.99
Nov 18, 2016
"This album is a collection of my favorite songs from my home country of Norway. On this album, Ken Embrey and Jan eLandstra are playing Hardanger Fiddles. They are both deeply involved in teaching the fiddle, playing for dances and organizing Scandinavian folk music activities along the west coast of America. On double bass I have Piper Heisig who is known for her versatile style. Paul Espinoza on accordion and Margie Butler on harp are my friends from "Golden Bough". They have been performing together for the last thirty-five years. Josef Bornback on keyboards is an experienced recording artist and Jackeline Rago on percussion got her degree in music at the University of San Francisco." - Leif Sorbye
Organ Recital: Bowyer, Kevin - GADE, N. / SYBERG, F. / NORGA
Nimbus
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Oct 01, 1996
Classical Music
Mendelssohn, Felix: 3 Psalms, Op. 78 / Grieg, E.: 4 Psalms,
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Aug 01, 2003
Classical Music
The Art of the Finnish Kantele
ARC Music
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CD
$20.99
Mar 31, 2015
Martti Pokela, Eeva-Leena Sariola and Matti Kontio are among the foremost players of the Finnish kantele, a folk instrument of the psaltery type. Almost nothing is known about early Kantele repertory, beyond a probable narrow melodic range. In more modern times the kantele has become a box-shaped instrument of 12 to 46 strings fastened to wood or iron wrest pins, tuned diatonically and encompassing 3-4 octaves. "The Art of the Finnish Kantele" presents 17 kantele pieces, both traditional melodies and new compositions. Played on 5, 9-and 36-string kanteles and the jouhikko (bowed lyre)
Sixten Ehrling
Caprice
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CD
$20.99
Jun 12, 2001
Classical Music
From Sweden To America - Swedish Emigrant Songs
Caprice
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$20.99
Jun 11, 1996
Classical Music
Clavierists at the Organ in 18th Century Sweden / Lundblad
Caprice
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$20.99
Mar 20, 2020
This recording is a modern portrait of the music that Swedish clavier-players might have carried to the organ in the latter half of the 1700s. Since hardly any Swedish music of the time was written exclusively for the organ, we must rely on historical sources for a sense of the possibilities. The selection offered here is largely a work of reconstruction, and except for the short movement by Roman, none of this repertoire has been recorded before, at least in this form for organ. Jonas Lundblad is an organist and musicologist. He studied church music in Malmö, Lübeck and Piteå, specializing in organ interpretation. A prolific freelance career performing both as an organ soloist and with choirs and orchestras has taken him to countries across Europe. When choosing repertoire, he looks mainly to the Romantic era and to new music, and enjoys delving into the sources to discover unknown or forgotten works. While a student for Hans-Ola Ericsson, he performed the complete works of Olivier Messiaen. Since then, the music and mental landscape of Messiaen have remained one his central influences.
Jazz in Sweden
Caprice
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Jan 20, 2010
Classical Music
Mozart, W.A.: Piano Trios Nos. 3-5
Nimbus
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Oct 01, 1996
Classical Music
Låtar II Swedish Folk Tunes
Caprice
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$20.99
Apr 21, 2010
Classical Music
Haydn: Piano Trios / Vienna Piano Trio
Nimbus
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Jul 01, 2004
Members of the Mosaiques together with Patrick Cohen reawakened us to the delight of yet another evolving genre in which Haydn, once again, had ‘to become original’, in their piano trio recordings on Harmonia Mundi (11/91, 9/93, 9/95 and 5/96); now the Vienna Piano Trio, following hard on the heels of their own excellent Dvorak and Beethoven Trios (9/97), fill in some of the gaps, in close, sometimes breathy, but always thrillingly true new recordings of four of the Haydn trios.
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
Musica sveciae - Folk Music in Sweden
Caprice
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Oct 30, 1995
Classical Music
Frifot
Caprice
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Apr 29, 1991
Classical Music
FOLK TUNES FROM ORSA & ALVDALE
Caprice
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$20.99
Jan 23, 1997
Classical Music
Nordic Folk Instruments
Caprice
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$20.99
May 28, 1996
Classical Music
Webern: Complete Works For String Quarets, Etc/Artis Quartet
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Jul 01, 2004
Classical Music
Hindemith, Ligeti, Nielsen: Wind Quintets / Vienna Quintet
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Feb 01, 2004
Let me say it right off the bat: I absolutely loved this CD, and I’m betting that you will, too. I have been enthralled with Hindemith’s Kammermusik ever since I acquired the complete set of works collected under that title in Riccardo Chailly’s 1992 two-disc Decca release. Seven works in all make up the series. Six are essentially chamber concertos, each featuring a different solo instrument: piano in the op. 36/1, cello in the op. 36/2, violin in the op. 36/3, viola in the op. 36/4, viola d’amore in the op. 46/1, and organ in the op. 46/2. The seventh, op. 24/1, is for 12 solo instruments. That leaves the op. 24/2 for five wind instruments heard here, to which Hindemith gave the title Kleine Kammermusik. Technically speaking, it falls outside the set of seven the composer designated Kammermusik, but in style it shares much in common with its siblings. Written in 1922, it is a delightful thing, peppy, perky, and playful, with just enough of those Hindemithian sour notes thrown in to give the piece a lemony zest. The Six Bagatelles by György Ligeti (b. 1923) is a fairly early piece written between 1951 and 1953, while the composer was still living in Hungary. The work is based on six movements from Ligeti’s Musica ricercata, and is clearly indebted to neo-Classical models, particularly Bartók and Stravinsky. Do not expect anything like the later spatial and spectral tone-cluster music that made Ligeti famous in the West.
I am of two minds when it comes to Carl Nielsen (1865–1931). Hearing his name so often in hyphenation with Sibelius (like Debussy and Ravel), I could not imagine how or why anyone would pair these two composers who sounded to me so utterly different in style and musical speech. Moreover, I was (and still am) a Sibelian to the core, and I was mystified that Nielsen, who seemed quite the inferior of the two, could be held up as an equal. Well, that was a long time ago, and before I really applied myself to learning Nielsen’s music. I still believe that Sibelius was the greater of the two composers, but they are so different from one another that comparisons are not very instructive. I have long since come to appreciate Nielsen for the individual and special voice that was his.
His Wind Quintet, op. 43, from 1922, is testament to that unique voice. At nearly 25 minutes, it is a substantive and masterful work. The concluding Theme and Variations movement, especially, is not only a brilliant display of wind-writing technique, but really beautiful and moving music.
What can I say about the Quintett Wien? These five musicians are more than masters of their craft; they come together as a perfectly blended ensemble that breathes as a single living organism. Truly magnificent. Nimbus captures them in an acoustic that is open and radiant, but not reverberant. I know that I will be playing this CD many times over.
Jerry Dubins, FANFARE
I am of two minds when it comes to Carl Nielsen (1865–1931). Hearing his name so often in hyphenation with Sibelius (like Debussy and Ravel), I could not imagine how or why anyone would pair these two composers who sounded to me so utterly different in style and musical speech. Moreover, I was (and still am) a Sibelian to the core, and I was mystified that Nielsen, who seemed quite the inferior of the two, could be held up as an equal. Well, that was a long time ago, and before I really applied myself to learning Nielsen’s music. I still believe that Sibelius was the greater of the two composers, but they are so different from one another that comparisons are not very instructive. I have long since come to appreciate Nielsen for the individual and special voice that was his.
His Wind Quintet, op. 43, from 1922, is testament to that unique voice. At nearly 25 minutes, it is a substantive and masterful work. The concluding Theme and Variations movement, especially, is not only a brilliant display of wind-writing technique, but really beautiful and moving music.
What can I say about the Quintett Wien? These five musicians are more than masters of their craft; they come together as a perfectly blended ensemble that breathes as a single living organism. Truly magnificent. Nimbus captures them in an acoustic that is open and radiant, but not reverberant. I know that I will be playing this CD many times over.
Jerry Dubins, FANFARE
Järven
Caprice
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CD
$20.99
Oct 31, 1996
Classical Music
Sjungande Tornedalen
Caprice
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Oct 07, 1996
Classical Music
Folk Music in Sweden - Spelmän från fem landskap
Caprice
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Jun 07, 1996
Classical Music
SIBELIUS: Rakastava / FORDELL: I folkton / SVENDSEN: Allt un
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Jul 11, 1994
Classical Music
Rosenberg spelar Rosenberg: Deklamatorier
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Aug 07, 1995
Classical Music
SWEDISH CELLO SONATAS
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Jul 22, 1996
Classical Music
Snälla Py - SR P3:s julkalender 2000
Caprice
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Nov 10, 2000
Classical Music
Cristina Branco Live in Amsterdam, Netherlands
ARC Music
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CD
$16.99
Nov 15, 2011
Classical Music
MUSIC OF SCANDINAVIA
ARC Music
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$16.99
Jan 05, 2018
This new release featureslively traditional music from Norway, Sweden, Finland, Iceland and Denmark played in modern and traditional renditions by some of the finest exponents of Scandinavian music. The album features traditional instruments such as the kantele, jouhikko, nyckelharpa, Hardanger fiddle and others. The included booklet features descriptions of the folk instruments, the brilliant folk musicians and ensembles, and full texts to the songs in their native languages. Enjoy this sound journey across the beautiful countries of Scandinavia!
Verdi: Aida (abridged performance, 1956) / Wagner: Lohengrin
Caprice
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$32.99
Oct 19, 2004
Classical Music
SWEDISH FIDDLERS OF THE PAST (
Caprice
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$40.99
Mar 11, 1999
Classical Music
