Klassiskt

Martin Fröst, clarinet<br/>Janine Jansen & Boris Brovtsyn, violins;<br/>Maxim Rysanov, viola; Torleif Thedéen, cello;<br/>Roland Pöntinen, piano<br/><br/>Johannes Brahms's Clarinet Quintet is core repertoire, not just for clarinettists but also in the entire chamber music genre. As such, it has been on Martin Fröst's 'to-be-recorded list' for a long time, and when he gathered a dream-team of string players for a concert in Stockholm in February 2013, it was the perfect opportunity for BIS to organize a recording session. Brahms's Quintet was written in 1891 by a composer who only a year previously had renounced composing, but whose creative urge had been reawakened by his encounter with the leading clarinettist of the time, Richard Mühlfeld. Some 120 years later, Fröst - one of today's most highly regarded musicians and the recipient of the 2014 Sonning Prize - steps into Mühlfeld's shoes, in the company of Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Thedéen. As a complement to this substantial work - with a duration of almost 35 minutes - Martin Fröst has transcribed six much-loved songs by Brahms, performing them with his chamber music partner of long standing, the eminent pianist Roland Pöntinen. The songs, composed between 1866-1886, range from high lyricism (Die Mainacht) to bitter-sweet nostalgia (Wie Melodien...), via the humourous Vergebliches Ständchen. To these new recordings has been added a substantial 'bonus' - Martin Fröst's performance with Pöntinen and Thedéen of the Trio for clarinet, cello and piano, which Brahms composed for Mühlfeld in the same year as the quintet. Originally released in 2005, the recording of the Trio received a warm welcome, including an Editor's Choice in Gramophone, as well as a 'Disc of the Month' on website ClassicsToday.com.

Bach: The Lute Suites [SACD Hybrid]

Monteverdi: L'Orfeo (Malmberg) [2 SACD Hybrid]

The Tower of Babel of performances and recordings of Sergei Rachmaninoff's music pleases the ear and the sight of the music lover today as it has been throughout the 20th century. In that Tower one can easily distinguish the voices of Rachmaninoff's music's "native speakers" - performers who spoke Rachmaninoff's mother's tongue, breathed the same air and enjoyed the same autumnal landscapes in childhood. In fact, it is the Tower of its own: looking through the list of Rachmaninoff's works and the names of Russian and Soviet performers in the Rachmaninoff Collection offered by legendary label Melodiya on the composer's 145th anniversary, one can assume just that. To a great surprise of the scholars and amateurs, such a collection has never been assembled previously. The "Russian idiom" (if we are to continue with the metaphor) has never been presented in such a massive and powerful way, reaching the "critical mass" that may lead to important conclusions about the Russian musical style and interpretation in general. The list contains the names of great singers from the generation of Soviet classics such as Irina Arkhipova, Ivan Kozlovsky, Georgy Nelepp, Elena Obraztsova, Mark Reisen, to the most current internationally renowned stars such as Hibla Gerzmava. One can find a smorgasbord of chamber music performed by the exceptional ensembles and individuals such as David Oistrakh, Leonid Kogan, Mstislav Rostropovich, Gidon Kremer and Daniil Shafran. An unusual component in the collection is the recordings of Rachmaninoff's Russian Orthodox church music - something that was carefully shoved under the rug in the Soviet times. The operas are represented by the best that the country could give - and here, for sure, the native Russian diction raises the level of performance to the classical height. And, of course, that poetics of the piano, in which Sergei Rachmaninoff expressed himself in the most unencumbered way, is represented in the Collection by the names that do not need promotion: Sviatoslav Richter, Emil Gilels, Grigory Sokolov, Vladimir Krainev, Alexei Nasedkin, Pavel Serebryakov - the list goes on until it reaches the latest acquisition on the Montparnasse of piano, Dmitry Masleev. For the connoisseurs, the Collection offers rare examples, many of them previously unreleased by Melodiya, together with those delicious brand-name tube-mic recordings that carry an unrivaled human quality and a tint of nostalgia. The edition comprises 33 CDs and 1 LP with previously unreleased recordings (Piano Concerto No. 2 performed by Vladimir Krainev and the Leningrad Philharmonic Orchestra conducted by Yuri Temirkanov; and Vocalise orchestrated by the composer and performed by the Moscow Philharmonic Orchestra conducted by Dmitri Kitaenko). The edition includes a booklet in four languages (Russian, English, French and German).

Dirigenten Christian Karlsen och London Philharmonic Orchestra presenterar Galina Ustvolskajas (1919-2006) fem symfonier. Hennes musik har beskrivits som "med en laserstråles intensitet, kapabel att genomborra metall." Först efter hennes död blev Ustvolskajas originella och kompromisslösa begåvning slutligen erkänd.

Prokofiev: Suites From The Gambler... [SACD Hybrid]

Dvorak/Suk: Violin Concerto/Fantasy & Love.. [SACD Hybrid]