New release with guitarist Georg Gulyas! After Georg Gulyas’ critically lauded recordings of the collected works for guitar by Bach and Britten on Proprius/Naxos, this internationally acclaimed guitarist now returns to the Latin American guitar repertoire with a brand new album dedicated to the Paraguayan composer Augustin Barrios. Recording producer is Torbjorn Samuelsson who continues the highly praised sound work that characterize Gulyas’ previous records. The Swedish guitarist, Georg Gulyás, graduated from the College of Music in Malmo in 1990, studied in Alicante, Spain, in 1990-1991, and received his diploma from the Royal College of Music in Stockholm in 1998. He studied at the Ecole Normale de Musique in Paris from 1993 to 1998, and at at the Juilliard School of Music in New York from 1998 to 2000.

Classical Music

The award-winning ensemble Hoor Barock is releasing a full album featuring the music of Antonio Vivaldi. The pride of Sk�ne, Hoor Barock, is the small baroque orchestra that has made a name for itself with it's passionate interpretations of baroque music. The group has been praised for it's virtuosity, sensitivity, stylistic brilliance, and joyful, playful approach to performance. Hoor Barock has four critically acclaimed recordings behind them and won a Swedish Grammy in 2020 together with Dan Laurin. In the new production "Vivaldi in the North," Hoor Barock's temperament and musicianship flourish in Antonio Vivaldi's beautiful and vibrant music. The album includes solo concertos and ensemble works with varying moods and characters. Featured soloists are recorder player Emelie Roos, baroque violinist Hannah Tibell, and lutenist Dohyo Sol. Some of the works on the album deserve special mention - the flute concerto "Il Gran Mogol" was discovered only fifteen years ago and is here recorded for the first time with a recorder instead of a transverse flute. The violin concerto in G major and the string symphony in B minor have a special Swedish (Scanian) connection, as the only surviving manuscripts are preserved at Lund University Library. Hoor Barock has previously recorded works from this nearby library and is keen to highlight the rich historical cultural heritage found there. Vivaldi's music was present in the Nordic countries during the Baroque era and continues to inspire us today. The ever-present drama in Vivaldi's music-whether depicting proud autumn storms, mirror-like icy landscapes, or exuberant dancing joy-can be found in the Nordic nature just as much as in the Mediterranean world of Venice.

GEORG GULYaS PLAYS JOSe /TURINA / DE FALLA

Vindla String Quartet is something quite unique, a string quartet composing it's own repertoire. In September 2024 they are releasing their second album "Med ljus och lykta" on NAXOS Sweden. The music has it's very own sound, a mixture of influences from classical compositions, jazz, folk and pop. Vindla has established a creative universe, open to new ideas on joint music making. It all started during the Pandemic when restrictions made public performances impossible. The quartet's members started sending bits and pieces of music back and forth to one another, building on each other's ideas. The end result is 9 songs created from the desire to make something together that could not have been done by one of them alone. ' Vindla String Quartet was founded in Malmo in 2008. The quartet is known for it's many collaborations with artists from various genres. Debuting with an album in their own name in 2018 they are recognized as one of Sweden's most interesting chamber music constellations. They aim to widen the idea of what a string quartet can be and do. By making compositions collectively they want to challenge the idea of the composer as a lonesome genius and musicians as interpreters and not creators.

The Royal Danish Brass and Anders Johnsson

New duo CD with Swedish Grammy winners Hoor Barock! What really happened during those long summer days in Leipzig, when master lutenist Silvius Weiss visited the home of Johan Sebastian Bach? Improvisational duels of excellence, or a more relaxed musical dialogue between friends? Contemporary witnesses recall there being "rare and elegant music played during this time". We also know that it was during this period that Bach added a congenial upper part to music originally composed by Weiss purely for solo lute, namely his sonata in A Major. This augmentation added a new dimension and perspective onto Leopold Weiss' already masterful composition, earning it a place in the catalogue of Bach's works, as BWV 1025. On the CD "Meetings with Bach", we are also presented with Bach's second cello suite in Dohyo Sol's own transcription for lute. Of the encounters with Bach on this colourful recording, we are met with his son, Carl Philip Emmanuel Bach, whose dynamic and frequently eruptive music stands in stark contrast to the more fashionable gallant-style of the time. Lutenist Dohyo Sol, and recorder player Emelie Roos, are both admired virtuosos on their respective instruments, and highly regarded on the Early Music scene- that of the music of the Renaissance and Baroque periods. Residing in the small village of Hoor in Skane, Emelie and Dohyo are the founding duo and artistic directors of the award winning and internationally acclaimed ensemble Hoor Barock, along with it's affiliated festival of the same name. Among the many accolades bestowed on Hoor Barock over the years, we must mention the Swedish Grammy win for their CD 'Golovinmusiken'. Aside from this recording, Hoor Barock have released three more critically acclaimed cds that have attracted international attention: "Devotion, artistry, esprit and expertise" (Klassik Heute, Germany) "... The performances are so well executed, stylish and sunny" (Gramophone, UK). Despite the fact that Emelie and Dohyo have been performing together for many years, the CD 'Meetings with Bach' is their highly anticipated debut recording as a duo.

This CD contains some of my compositions from the years 2020-2022; the period when I studied composition under Staffan Storm at the Malmo Academy of Music. Some works originate from the period just prior to my studies and some from the period immediately after. The four organ works (tracks 1, 2, 6 and 7) summarise quite well my journey as a composer during these years. They begin with the arrangement of the chorale O giv oss, Herre, av den tro, (O give us Lord, the faith) composed in the summer of 2020. After that I explore O glad dig, Guds forsamling nu (O rejoice, the Church of God) with another type of harmony built on chords by fourths. Here the melody of the chorale is treated more freely than in the first chorale arrangement, using more accidentals. The short Gregorian paraphrase Terribilis est builds on a kind of canon technique alternating with warmer, free-floating sonorous islands as a contrast to the canon parts. Polytonality, i.e. The simultaneous use in the music of several melodious tonalities, has become a significant and characteristic ingredient in my music. In the piece entitled In nomine Jesu I explore this technique both by overlapping chords and a more linear melodic sequence. The last organ work has been performed on the gallery organ in the church and the three other organ works as well as the cantata Tatt intill korset (Close to the Cross) are performed on the choir organ. /Hampus

Goteborg Baroque Magnus Kjellson The long-awaited release of Goteborg Baroque's recording of Dietrich Buxtehude's "Membra Jesu Nostri" is finally out! This legendary musical work has been interpreted countless times, and yet Goteborg Baroque brings something new to the table. Recorded in arstads kyrka outside the Swedish town of Falkenberg, artistic director Magnus Kjellson and his group of musicians succeed in delivering an intimate and genuine rendition of "Membra Jesu Nostri", with the unmistakable quality that the ensemble has become acclaimed for: the live feeling, that of being in the room with the musicians even when listening to a recording. Goteborg Baroque is pleased to share a most human and heartfelt interpretation of one of the most wondrous works in music history.

Musicam semper amavi ("I have always loved music") - Martin Luther In Reformationssvit, I wanted to create a musical journey through the history of Christianity with a series of hymns, composed or modernised by Martin Luther, as well as some Swedish hymns, both well-known and little known, which I have arranged in different styles. Most of the hymns can be found in the Swedish hymnbook from 1697, some of which are still included in the present day hymnbook. I have used the old translations, amongst others those by Olaus Petri. The journey begins in Jerusalem in the first century. People are playing music in the streets and market places and singing can be heard from the temple. We also hear Jesus' last words on the cross. Then, via the Coptic church, we arrive at the Gregorian chant with it's modes: Mixolydian, Lydian, Dorian, etc. Martin Luther makes his entry with his high and clear voice. Many of the Swedish hymns have three beats to a bar, which was unusual at the time, and was perhaps considered a little too dance like. I have chosen some of my favourites here. Luther thought that the prayer "Our Father" was rushed through and babbled in the whole world without consideration for it's depth of meaning and holy ritual. Here, it is represented in Swedish folk style, with Luther's text in contrary motion. As with many other melodies, Luther modernised the Gregorian chant "Veni Creator Spiritus". Here, I have woven the two existing versions together. Sometimes I have included citations of Luther or Jesus as a counterpart to the hymns. "Glad dig du kristi brud" is a well-known hymn, but here it is heard with the old text "Frojda dig du Kristi brud", giving a different rhythm to the melody. Everything is tied together by Luther's five "solas" Sola Scriptura: "Scripture alone" Sola fide: "faith alone" Sola gratia: "grace alone" Solus Christus: "Christ alone" Soli Deo gloria: "the glory of God alone" Many of the translations are from Olaus Petri who most likely had met Luther and who had a great impact on the reformation in Sweden. All the melodies I have used were originally single line melodies, so all the voicing and harmonisation have been created by me. Jonas Dominique Reformationssvit had it's premiere in 2017 in Soderledskyrkan with S: t Jacobs Chamber choir and REBaroque

Jan H Borjesson - organ

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music