The Norwegian vocal ensemble Edvard Grieg Kor is the resident a cappella ensemble at Troldhaugen, the home of Edvard Grieg. Displaying versatility across all musical genres, they perform regularly with Bergen Philharmonic Orchestra and also form the core of the Chorus for Bergen National Opera. They have had numerous works and arrangements written specially for them by leading composers including Jonathan Rathbone, and David Lang, both of whom are represented here on this the choir’s debut recording. Greig’s Fire Salmer, (Four Psalms) after Norwegian folk tunes (his final opus) and his shorter Ave Maris Stella (performed here in an a cappella arrangement made by the composer) are two rare examples of religion in Greig’s output. Works by fellow Norwegian composers Ole Bull and Agathe Backer Grøndahl, and a sensational and virtuosic arrangement of Greig’s Holberg Suite complete the programme.

An important centre for iron production in 17th-century Sweden, Leufsta Bruk came into the hands of the De Geers, a Dutch family, in the 1640s. In 1730 the young Charles De Geer inherited the estate and the ironworks, and it was here that he kept his extensive collection of sheet music, including many volumes imported from Amsterdam but also works by composers based in or visiting Sweden, such as Hinrich Philip Johnsen and Conrad Friedrich Hurlebusch. Charles played the cello and the harpsichord, and it is probable that much of the music in the Leufsta collection will have been performed by members of the De Geer family themselves. The collection, now housed in the library of the University of Uppsala, thus offers fascinating insights into domestic music-making in 18th-century Sweden. This is the third album to present music from the collection, and the first to focus on vocal music. It also features the famous organ in the church belonging to the estate, built in 1728 by Johan Niclas Cahman. Ranging from Swedish chorales to French opera, the varied selection is performed by soprano Elin Rombo and members of Rebaroque, one of the leading baroque ensembles in Sweden.

The choice of works on this amply filled album, as well as the performances are the result of Lorenda Ramou’s research into the artistic environment of Nikos Skalkottas, in Berlin (1921–33) and in Athens (1933–49). The programme is organized as a triptych, focusing on three distinctive compositional styles. First, all surviving Berlin works for piano solo are presented in chronological order, showing how the young composer was reacting to the new and exciting jazz/dance music, but also to the people around him and to events in the musical world of Berlin in the 1920s. This is followed by Suites Nos 2, 3 and 4, a group of mature works composed at the beginning of World War II (1940–41). Closing the release, finally, is the dance suite The Gnomes, probably composed in 1939 and one of a group of piano scores for ballets with Greek subjects. Lorenda Ramou has previously released ‘The Land and the Sea of Greece’ – an album of precisely such scores by Skalkottas – which earned her praise from the reviewer in Gramophone: ‘Her playing is full of verve and alive to the delicacy of Skalkottas’s writing.’

The music on Presentiment, a 2018 release with four orchestral works by Rolf Martinsson, was described by one critic as ‘bold and uncompromisingly personal, eschewing avant-garde modernism and engaging us with solidly expert conventional techniques of composition and orchestration’ (MusicWeb-International.com). The present album features more of Martinsson’s music, performed by the Malmo Symphony Orchestra – a body with which Martinsson has enjoyed a close relationship as its composer in residence. In two of the recorded works, the orchestra – conducted by Paul Magi – is joined by another of Martinsson’s regular collaborators, the soprano Lisa Larsson. Larsson is the soloist in Ich denke Dein..., a song cycle setting five poems by Goethe, Rilke and von Eichendorff, and in Into Eternity, a longer work which in its second half incorporates two poems by the Swedish poet Karin Boye. Into Eternity was composed for the opening of the Malmo orchestra's new concert hall in 2015, and Martinsson wrote it, as well as Ich denke Dein..., with Lisa Larsson in mind. Larsson also appeared on the composer's previous monograph on BIS, in his settings of poems by Emily Dickinson; a performance that led one reviewer to proclaim her 'an expressive artist par excellence, who knows to savour every nuance of the poems' (klassik-heute.de).

Ivan Ilic came across these transcriptions, scarcely known at all, through the most unlikely and serendipitous sequence of events. Carl David Stegmann (1751 – 1826) was a tenor, keyboard player, conductor, and composer, who worked mostly in the field of opera. Employed by the Court Theatre in Mainz (where he sang in the first German-language production of Don Giovanni), he also gave a number of acclaimed performances in Frankfurt. Trained as an organist, he made transcriptions of string quintets by Mozart and Beethoven’s Trios, Op. 9 as well as keyboard transcriptions of twenty-five of Haydn’s symphonies. Ivan Ilic writes: ‘It is unclear to me whether these transcriptions were ever meant to be played as concert repertoire, in public. Nevertheless, the enthusiasm I have encountered wherever I have played them has persuaded me to make this recording, to allow more people to hear Stegmann’s idiomatic arrangements.’

Lisa Friend leads this collection of original works and transcriptions for flute and guitars, joined by Craig Ogden and the Aquarelle Guitar Quartet. The wide-ranging programme includes Fauré’s Pavane and Rachmaninoff’s Vocalise. Lisa Friend (Flautist) has appeared as a soloist with the Philharmonia Orchestra, City of Prague Philharmonic, Virtuosi Pragenses Chamber Orchestra, Royal Liverpool Philharmonic Orchestra, Oxford Philharmonic and has toured throughout much of Europe, Asia and the USA. Lisa has recorded as a solo/chamber artist for Silva Screen, Universal, Chandos, Champs Hill and Signum Records. Her previous album 'Essence' has been aired on Classic FM, BBC Radio 3, BBC Radio London, WQXR Classical Radio, New York and WFMT Radio, Chicago.

Renaissance music from Spain has come to mean the works of composers such as Tomás Luís de Victoria or Francisco Guerrero rather than their predecessors. But composers such as Francisco de Peñalosa – who died in 1528, the same year that Guerrero was born – were musicians of genuine imagination and skill, whose work often shows a formidable individuality. The most recent edition of Peñalosa’s oeuvre lists 22 works as genuine: masses, lamentations, hymns and motets. From these, New York Polyphony have selected two highly expressive Lamentations, intended for services held during Holy Week and setting biblical texts bemoaning the destruction of Jerusalem in 586 BC.

Besides two brief motets, Peñalosa is also represented by sections from his Missa L’homme armé, one of the many examples from the 15th to the 17th century of cyclic masses based on secular melodies. These pieces by Peñalosa are brought into relief by shorter works by his near-contemporary Pedro de Escobar – a deeply haunting setting of the beginning of the hymn Stabat Mater – and the aforementioned Francisco Guerrero. Guerrero is represented by Quae est ista, a setting of words from the Song of Songs which have inspired the composer to ecstatic cascades of notes. In contrast his Antes que comáis a Dios, with a text in Spanish, is simple but effective, in a propulsive triple time.

REVIEWS:

Francisco de Peñalosa is the link between the great Flemish composer Josquin des Prez (his senior by 15 or 20 years) and the full flowering of Spanish Renaissance music, represented by Alonso Lobo, Tomás Luís de Victoria and Francisco Guerrero. This new disc from New York Polyphony presents two Lamentationes by Peñalosa, along with a number of his Mass segments.

The superb singing, impressive acoustic space (of the Princeton Abbey in the former site of the Saint Joseph's Seminary in Plainsboro NJ), and perfectly captured audio all come together to provide an experience that is both timeless and completely in the moment. Another impressive project from New York Polyphony!

-- Music for Several Instruments

It’s wonderful to hear more music from Francisco de Peñalosa (1470-1528), and particularly pleasing that it comes on this stylish release from New York Polyphony complete with superb booklet notes by Ivan Moody.

-- Gramophone

Van Gogh’s Sunflowers, da Vinci’s Mona Lisa, Tolstoy’s War and Peace – those works of art that are truly part of the canon of global culture are few and far apart. In music, one work that holds significance for people all over the world is Ludwig van Beethoven’s Ninth Symphony, and especially its choral finale. Even today, as we are getting ready to celebrate the 250th anniversary of the birth of its creator, the sheer size and complexity of the symphony is daunting. There are some eyewitness accounts from the first performance, at the Kärntner-Tor-Theater in Vienna on 7th May 1824: we know for instance that Beethoven was on stage himself throughout the performance, but that owing to his deafness he did not notice the audience’s overwhelming enthusiasm. What the Ninth sounded like that evening in Vienna is something we will never know, however – which is why hearing it in a historically informed performance on period instruments is all the more interesting. With impeccable credentials from their 65-album series of Bach’s complete cantatas, and acclaimed recent recordings of Mozart’s Requiem and Beethoven’s Missa solemnis, Bach Collegium Japan and Masaaki Suzuki now give us their rendering of Beethoven’s last and greatest symphony, joined by a fine quartet of vocal soloists.

Sergei Prokofiev virtually grew up at the keyboard – he composed for the piano from early childhood, and the instrument was his workshop and laboratory. Well before the end of his student days he had absorbed the virtuoso techniques of Rachmaninov and Scriabin, and to these he added his own brilliant, sharp-edged virtuosity, marked by a keen contrast between dramatic, hard-driven passages and more intimate and gentle lyrical moments. His nine sonatas therefore hold a very special place in his output and represent his language at its most personal, free of any external dramatic, verbal or visual associations: they contain the essential Prokofiev. Freddy Kempf has previously recorded four of the sonatas to critical acclaim: ‘Kempf is joyfully exuberant, flashing through every savage challenge with the assurance and instinct of a born virtuoso’ (Gramophone). With this release, he adds another three sonatas to his discography, starting with Sonata No. 3 in A minor which Prokofiev premièred in Petrograd in April 1918. Three weeks later he left Russia and only returned in 1936, after seventeen years spent in the USA, Germany and France. Premièred in 1944, Sonata No. 8 is the third and last of the so-called ‘War Sonatas’ – possibly less virtuosic than its predecessors, it has a wide emotional range, with unexpected depths. His final, ninth sonata Prokofiev wrote for Sviatoslav Richter, saying: ‘Don’t think it’s intended to create an effect.’ Often almost improvisatory, it was the last work he completed before the infamous 1948 decrees that disciplined many Soviet composers, and the first performance did not take place until 1951.

Between 1791 and 1804, Joseph Haydn arranged some 400 traditional songs for publishers in Scotland and England. Almost all of the songs were Scottish and the most common setting was for voice and piano trio. There have been numerous recordings and performances of the arrangements by these forces, but on this disc The Poker Club Band offer their listeners something quite different. Taking its name from one of the Edinburgh clubs at the heart of the Scottish Enlightenment, the ensemble consists of four early music specialists and a traditional singer. They have retained Haydn’s violin and cello, but the keyboard part has been adapted for harp and guitar following indications that the harp was commonly used for contemporary performances of Scottish traditional repertoire. The Gaelic singer James Graham, with his idiomatic Scottish timbre, and the period instruments – of which Masako Art’s single-action pedal harp from 1809 is known to have been in Scotland around the time – brings us that much closer to what a performance in an Edinburgh salon might have sounded like around 1800. The songs themselves range from the cautionary tale of a girl who married for love and now is doomed to a life of hard and dirty work on her husband’s farm (The Mucking of Geordie’s Byer) to love songs such as Oran Gaoil, with a text by Robert Burns. Providing variety, some instrumental 18th century arrangements of Haydn originals are included while the album ends with the well-known atmospheric Lament by the Scottish fiddler Niel Gow.

Ulf Wallin and Roland Pöntinen made their first duo-recording for BIS in 1991 and have released acclaimed recital albums ranging from Schumann and Liszt to Alfred Schnittke, by way of Schoenberg and Hindemith. With the present disc they bring their most recent project to a close: a recording of all the works by Johannes Brahms for violin and piano. These include not only the three well-known and -loved numbered violin sonatas, but also the Scherzo from the so-called F.A.E. Sonata and the composer’s own violin versions of the two sonatas for clarinet and piano. Wallin and Pöntinen open the present release with Sonata No. 2 in E flat major, Op. 120, composed in 1894 for clarinet and transcribed for the violin a year later. As the clarinet part extends further down than the lowest note on the violin, Brahms made considerable revisions to the clarinet part, which entailed changes in the piano part, and consequently the printing of a new piano score. This is followed by the second and third violin sonatas, in A major and D minor respectively. Both works were composed during the summer of 1886 in Thun in Switzerland and are clearly related, even though they inhabit completely different expressive worlds.

Continuing their series of orchestral works by Sir Eugene Goossens, Sir Andrew Davis and the Melbourne Symphony Orchestra turn to the Phantasy Concerto for Violin and the Second Symphony. Goossens was born in London in 1893, into a family of Belgian conductors and musicians. He trained in Brugesand at the Royal College of Music (studying composition under Stanford), played violin in the Queen’s Hall Orchestra under Sir Henry Wood, and became Sir Thomas Beecham’s go-to stand-in because of his ability to conduct the most demanding programmes on little or no rehearsal. Goossens gave the first UK concert performance of Stravinsky’s Le Sacre du printemps, in 1921, and in 1923 became the first music director of the newly formed Rochester Philharmonic, before succeeding Fritz Reiner, in 1931, as chief conductor of the Cincinnati Symphony Orchestra. He spent nine years in Australia, as chief conductor of the Sydney Symphony Orchestra, and was instrumental in the planning of the Sydney Opera House. Both works recorded here were composed towards the end of his life. The Second Symphony, dating from 1942–45, is a vivid and personal response to WWII. The Phantasy Concerto for Violin and Orchestra was originally promised to Heifetz, who never performed it. Having returned to London, Goossens gave the work’s premiere in a BBC broadcast in July 1959, and this was followed by a Proms performance in 1960; on both occasions the soloist was Tessa Robbins. Sir Andrew Davis and his Melbourne forces perform these rarely heard works with care and finesse, and Tasmin Little shines as the soloist in the Phantasy Concerto. The album is recorded in Surround Sound.

The soprano Louise Alder has been described as 'the brightest lyric soprano of the younger generation' (The Arts Desk),'a born actress' (Opera), and as having 'a voice of sparkling beauty' (Gramophone). In this her debut recording for Chandos, she and her pianist, Joseph Middleton, have devised an unusual but rewarding programme that explores the works of six contrasting composers. As she writes in her booklet note: ‘When Joseph suggested making an album of Russian songs, including Russian composers who set poems in other languages, I jumped at the challenge. The more we discussed the repertoire, the more amazed I was to see how well it fitted with my own family history. In 1916 (the same year that Rachmaninoff composed the Opus 38 songs), huge political unrest forced my great-grandparents and family to flee, shutting up the house in Odessa, travelling 1,687 km north by rail to St Petersburg, and then by sleigh into Finland, through Norway, and back to Britain. It is my pleasure to be able to honor my family’s Russian connection with this meandering sleigh ride through Russia, with songs in Russian, French, and German, into Finland, in Swedish, and Norway, in German, back to the UK for a cycle of Britten songs in Russian.’

Vienna around 1900 was a melting-pot in several ways: a city attracting artists from the entire Austro-Hungarian Empire where bohemian writers and musicians rubbed shoulders with aristocrats and establishment figures, and where late-Romanticism co-existed uneasily with the Wiener Moderne aesthetic of the fin-de-siècle. In the visual arts, Jugendstil (or Wiener Secession) was all the rage: its curlicues, floral patterns and fluid lines were seen everywhere – in architecture, interior design and graphic arts. In music, the term is usually associated with composers such as Mahler, Zemlinsky and Korngold, but also early works by Alban Berg and Arnold Schoenberg. Following on three previous acclaimed recital albums on BIS, Camilla Tilling and Paul Rivinius have devised a programme with songs by these very composers, written between 1898 and 1916. The songs range from the Einfache Lieder by a teenaged Korngold to Zemlinsky’s set of Walzer-Gesänge based on Tuscan folk poems and the much-loved Rückert-Lieder by Mahler. Schoenberg is represented by his Op. 2 collection 4 Lieder and his student Berg by the set of Sieben frühe Lieder, from 1905–08.

It was in 1842, his ‘year of chamber music’ that Robert Schumann took on the combination of violin, cello and piano for the first time. He seems to have decided against releasing the resulting Fantasiestücke as a fully-fledged piano trio, however, but later returned to the work, revising it for publication in 1850. The model here is not the large-scale, quasi-symphonic trios of Beethoven or Schubert – instead Haydn’s characteristic trio textures spring to mind, especially in the first two movements where the cello largely follows the piano’s left-hand bass line. By the time the Fantasiestücke was published, Schumann had already written two ‘proper’ piano trios, No. 1 in D minor and No. 2 in F major. According to the composer the second of these ‘makes a friendlier and more immediate impression’ but it is in fact the D minor trio that has long been the more popular: passionate, mainly extrovert and bursting with fine thematic material it is the easiest to grasp on one hearing. Both works are filled to capacity with imitative writing, sometimes conspicuously so but often subtly as if on a subconscious level – an aspect that the members of the Kungsbacka Piano Trio, with more than 20 years of playing together, are able to make the most of.

Very little is known about the origin of J. S. Bach’s seven Toccatas (BWV?910–916) or of their use. They are believed to have been written before 1717 or the end of Bach’s Weimar period – but it is quite possible that at least some of them were drafted before he arrived there in 1707, at the age of 22. The Toccatas are usually performed on harpsichord or piano – but even though they are ‘manualiter’ (intended to be played by the hands only) and do not call for pedal parts, they are also occasionally heard on the organ. In terms of style they are examples of the so-called stylus phantasticus – ‘the most free and unfettered method of composition’ – and belong to the North German organ tradition of the late 17th century. Each piece consists of several distinct and contrasting sections, interweaving strict counterpoint and fugal passages with freely rhapsodic material, and as such the toccatas differ from the two-movement prelude-and-fugue format which Bach later would put his own, indelible stamp on. With this disc, Masaaki Suzuki takes on some of the earliest of Bach’s extant harpsichord compositions, after having released acclaimed recordings of a wide range of later works, from the two-part Inventions to the two books of the Well-Tempered Clavier. However, he also brings his experience in performing the music of Bach’s North German predecessors to bear, for instance Buxtehude (BIS-1809) and Nicolaus Bruhns.

REVIEW:

Since completing his Bach cantata cycle, conductor and keyboardist Masaaki Suzuki has turned to Bach's keyboard music. The results have been consistently satisfying, as one would expect from this great contemporary Bach interpreter, but even Suzuki fans might have wondered what he would do with these six rarely played toccatas. There are more purely dramatic readings of these works, mostly played on piano, but Suzuki is attuned to this music, and his performances are not in the least colorless. Bach's intense Adagios, like that of the Toccata in E minor, BWV 914, and the irregular structures of the music have snap and surprise. Suzuki's 1982 harpsichord, based on an enlarged Ruckers instrument, is an excellent choice for the music, and anyone whose Bach collection is missing these remarkable works can do well with this choice.

-- ALlMusic.com (James Manheim)

For his new recital disc, the acclaimed Finnish guitarist Ismo Eskelinen had the aim of creating a programme that works like a story: ‘a modern guitar album that lends itself to continuous listening from beginning to end’. The pieces that he has selected are united by the fact that, with the exception of Tan Dun, Eskelinen has collaborated closely with all the composers. In the liner notes to the album he expresses his admiration for how intuitively they all understood the essence of the guitar, even though none of them is a guitarist. ‘Everyone has found a unique way to bring his own musical style to the guitar, and each of the composers is clearly recognizable.’ Opening the album are Kromos by Sebastian Fagerlund and Solo XI by Kalevi Aho, two pieces that in technical terms come close to the limits of what is possible on the guitar, but with a completely convincing musical logic. Olli Mustonen’s Sonata No. 2 contains drama but also lyricism, qualities which are emphasized in Tan Dun’s multi-movement collage Seven Desires with inspiration from the different traditions and characteristics of Spain’s flamenco guitar and China’s pipa (lute). Jukka Tiensuu is among the pioneers of modern Finnish guitar music and wrote his first work for the instrument as early as 1974. His Daydreams from 2016 is composed for guitar and electronics, but the sound world is strongly guitaristic, as the electronic part is modified from fragments played by Eskelinen on the guitar. Sometimes the use of electronics produces echo effects alongside the live guitar, and sometimes the sound image expands into that of a guitar trio. The very brief closing number is an arrangement, by Eskelinen himself, of Timo Alakotila’s calm and soothing Psalm.

Dividing his time between the United States and the United Kingdom, the composer Geoffrey Gordon writes music that has been described as ‘darkly seductive’ (New York Times), ‘richly satisfying’ (BBC Music Magazine) and ‘iridescent and fierce’ (The Chicago Tribune). The present album brings together three of his recent works, all composed between 2013 and 2018 for the soloist recording them here, the Danish cellist Toke Møldrup. In several of his works, Gordon takes his inspiration from other art forms – sculptures by Giacometti, a self portrait by Warhol, a children’s picture book by Maurice Sendak. The works gathered here are inspired by or reactions to three literary masterworks. The ‘creative blueprint’ for the opening work, the Cello Concerto, is the novel Doktor Faustus by Thomas Mann. Organized into a Prologue and Seven Episodes, the work traces the progress of Mann’s protagonist Adrian Leverkühn from innocence to madness, with the cello both embodying and (occasionally) commenting on the proceedings. For this recording, Møldrup receives the support of the Copenhagen Phil and conductor Lan Shui. In the score of Fathoms, Gordon’s sonata for cello and piano, each of the five movements is headed with a quotation from Shakespeare’s The Tempest which sets the scene for the musical impression that follows. Here Møldrup is joined by the American pianist Steven Beck. The amply-filled album closes with Ode to a Nightingale, with the words of John Keat’s immortal poem heard from the Mogens Dahl Chamber Choir, and given emphasis by Toke Møldrup’s obbligato cello.

Internationally acclaimed for his music for orchestra (17 symphonies and 31 concertos to date), Kalevi Aho has also composed chamber and solo works. The present disc combines six such pieces, ranging across the composer’s career. The earliest work on the disc is the Bach-inspired Sonata for solo violin from 1973, reminding us that during his years at the Sibelius Aacademy (1968 – 71), Aho studied the violin as well as composition. Another early piece, Prelude, Toccata and Postlude, also started out as a solo work – this time for the cello – before developing into a duo. From the other end, chronologically speaking, is the ample Piano Sonata No. 2 from 2016, with a duration of some 25 minutes. This time it is Beethoven who has provided inspiration, and the composer describes the work as ‘a commentary on the Hammerklavier Sonata, in which Beethoven’s motifs are frequently “misquoted” and developed in a different direction.’ The sonata closes the programme but not before giving us an opportunity to hear three further works involving the violin – a second solo piece, In memoriam Pehr Henrik Nordgren, written in memory of Aho’s fellow composer and friend, Lamento for two violins and Halla (‘frost’) for violin and piano. Performing these works are four highly respected Finnish musicians, the violinists (and brothers) Jaakko and Pekka Kuusisto, Samuli Peltonen (cello) and Sonja Fräki, pianist and Aho specialist.

REVIEW:

The two pieces written to mourn fellow musicians are, in fact, the best. Lamento was created for the funeral of the violinist Sakari Laukola, who died young in 2001. Jaakko Kuusisto’s sincerity obvious and his tone particularly strong and beautiful high up.

– Gramophone

Following the announcement by Tasmin Little of her intended retirement from the concert platform, we wanted to create an album that would stand as both a tribute to, and celebration of, her outstanding career as a performer. What better way to do so than ask her to select her own, personal favorites from her recorded career? An exclusive Chandos artist since 2010, Tasmin has made a series of recordings that have proved a cornerstone of the Chandos schedules for a decade, and feature a range of composers and styles of quite breath-taking variety. The first album concentrates on concerti, and features both Walton’s and Britten’s concertos with Edward Gardner, along with the slow movement of her award-winning Elgar recording with Sir Andrew Davis. The second features works from Vivaldi though to Shostakovich via Brahms, and includes (among many other gems) her recording of Vaughan Williams’s iconic The Lark Ascending. It also celebrates Tasmin’s recital partnerships with three outstanding pianists: Piers Lane, Martin Roscoe, and John Lenehan. As she writes in her booklet note: ‘I am very happy that this final, double-album set should reflect so many aspects of me as a musician; and I remain full of gratitude for the tremendous opportunities I have been given to play and record with the greatest musicians of today. I hope you all enjoy this final release.’

The Stockholm Syndrome Ensemble is – as the name implies – based in Stockholm, and consists of five of the city's leading musicians. Project-based and often inviting guest performers, the SSE is known for its imaginative programmes built around a particular event or concept and bringing together music from various genres and eras. For its first release on BIS the ensemble has taken Brett Dean’s Voices of Angels as their point of departure, a work scored for the same forces as Schubert’s ‘Trout quintet’ and inspired by Rainer Maria Rilke’s first two Duino Elegies: ‘Angels (it’s said) are often unable to tell whether they move amongst the living or the dead.’ Dean’s work from 1996 opens a programme which ranges from Bach to Sofia Gubaidulina, and includes various scorings for between two and six performers. The angels reappear in songs by Wagner and Gubaidulina performed by Christianne Stotijn, one of the ensemble’s guests on this disc – but it is also safe to assume that they are standing around the heavenly throne which Bach approaches in the chorale prelude ‘Vor Deinen Thron tret ich hiermit’ – here transcribed for strings. The same prelude is the subject of Gubaidulina’s Meditation, while the disc closes with a work by Gubaidulina’s friend Alfred Schnittke, namely his Hymn for cello and double bass.

Begun in 2012 with the release of Symphony No. 1, Thomas Dausgaard’s four-album traversal of the symphonies of Johannes Brahms is here brought to a close with the composer’s final work in the genre. The E minor Symphony is sometimes described as Brahms’ ‘elegiac symphony’, and has been called ‘one of the greatest orchestral works since Beethoven’. Typical for the composer is the striking degree of motivic relationships throughout the work. This includes the finale in which Brahms demonstrates his full mastery in a towering Passacaglia consisting of 30 variations and a coda. The smallish forces of the Swedish Chamber Orchestra contribute to a transparency and clarity which bring out the finer details of Brahms’ compositional web. As on previous installments, the symphony is coupled with other works by Brahms. Included on the present release is another late work, Tragic Overture, which concludes the programme. These two ‘serious’ works frame some of the most rousing and ebullient music Brahms ever wrote, namely his Hungarian Dances. Composed for piano four-hands, the 21 dances became immensely popular, and Brahms arranged three of them for orchestra himself. Having made his own orchestrations of the remaining 18 dances, Thomas Dausgaard has recorded the full set for his Brahms cycle, with the final nine dances included here.

The Norwegian Soloists’ Choir and Grete Pedersen have made acclaimed recordings of music spanning a millennium – from chants by Hildegard of Bingen (1098 – 1179) to the most recent compositions – and in styles ranging from folk songs to Bach motets and Berio’s Coro. On their new album, the focus is on contemporary Norwegian music, with three works which all originate in words and challenge the relation between language and music. For his Lament from 2015, Lars Petter Hagen has chosen to set a short text by E. E. Cummings, written when the poet was 6 years old. The words of the poem are split up and stretched out into pulsating waves of grief, at once mysterious, beautiful and painful. Awarded the Nordic Council Music Prize in 2018, Muohta (Snow) consists of 18 sections, each setting a single word in Sámi, the language of the indigenous people in the north of Norway. The words are all related to snow, and composer Nils Henrik Asheim has found inspiration in how indigenous peoples live with nature, as opposed to seeking to control it.

Kalevala, the Finnish national epic, begins with the creation of the world – from a duck's egg – and goes on to relate a series of tales of magic and adventure. One of the most memorable characters is Kullervo, a flawed hero whose tragic story is told in the course of six songs or runos. These describe multiple murders, rape, incest and finally suicide – a powerful brew that has inspired several Finnish artists. Among them is Jean Sibelius, who in 1891 was a young music student in Vienna. At home in Finland a wave of nationalism was gaining momentum and the Kalevala was an important symbol in the struggle for independence from Russia. Sometimes called a choral symphony, Sibelius's Kullervo was premiered in 1892, receiving a mixed reception and the work was soon overshadowed by the First Symphony. Only in the 1970s did it became more widely known, at which time the score caused something of sensation. Faithful to the urgency and brutality of the score, the present recording was made at live performances at Symphony Hall in Minneapolis, with Osmo Vänskä directing the forces of the Minnesota Orchestra, joined by their Finnish guests Lilli Paasikivi, Tommi Hakala and the eminent YL Male Voice Choir.

The horn was one of the instruments that Johannes Brahms learned in his youth, from his father who played it professionally. His fondness and familiarity with the instrument is clear from the glorious solos that he provided it with in his symphonies, and he gave it pride of place in the Horn Trio that he wrote in memory of his mother Christiane. Even so, he never composed any other chamber work involving the horn – an oversight that horn players have regretted ever since. Following up on two highly acclaimed BIS albums, Alec Frank-Gemmill decided to rectify this, and enlisted the help of pianist Daniel Grimwood and violinist Benjamin Marquise Gilmore. It goes without saying that the resulting disc includes the Horn Trio – which Frank-Gemmill has chosen to perform on the instrument played by Aubrey Brain on his legendary 1933 recording of the work. But leading up to this are two works originally written for violin and cello respectively. The sometimes controversial subject of transcriptions is discussed by Frank-Gemmill in his liner notes where he also explains his selection of works. In the Scherzo that Brahms wrote as his contribution to the F-A-E Sonata (which also included movements by Schumann and Albert Dietrich), he finds that the very fabric of the piece is made up of horn calls, while the galloping 6/8 theme reminds him of the final movement of the horn trio. Wanting to also include a sonata, Frank-Gemmill settled on the E minor Cello Sonata, Op. 38 as the one best suited for the horn, and together with arranger Daniel Grimwood the decision was made to transpose the work a third up, into G minor. Through their efforts, we are able to present a Brahms recital that hornists – and the rest of us – could only dream of.

The streets of eighteenth-century Madrid; a contaminated test-bombing site in Australia and a song from El Salvador provide some of the subject matter for this album by the United Strings of Europe (USE). Formed in 2012 by students at London’s Royal Academy of Music, the ensemble brings together outstanding players from across Europe. Artistic director is the Anglo-Lebanese violinist Julian Azkoul, who leads from the violin, curates programmes and arranges music for the ensemble. For In Motion, USE’s début recording, Azkoul has arranged Boccherini’s celebrated and atmospheric evocation of the Nocturnal Music of the Streets of Madrid, in a version that updates the original’s flirt with popular music. Far removed both geographically and in mood is Maralinga, Australian composer Matthew Hindson’s powerful and haunting work featuring guest soloist Amalia Hall. The programme opens and closes with works for string quartet, composed some 180 years apart in Vienna and New Zealand respectively and heard in bespoke arrangements by Azkoul. Reflecting the ensemble’s distinctive voice and multi-national heritage and the wide-ranging interests and stylistic versatility of its members, In Motion is a roller-coaster ride of an album.