Freddy Kempf – Prokofiev: Piano Sonatas Nos. 3, 8 & 9 (2019) [FLAC 24 bit, 96 kHz]

Freddy Kempf – Prokofiev: Piano Sonatas Nos. 3, 8 & 9 (2019) [FLAC 24 bit, 96 kHz]

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.

Francesco D’Orazio – Vito Palumbo: Woven Lights (2023) [FLAC 24 bit, 48 kHz]

Francesco D’Orazio – Vito Palumbo: Woven Lights (2023) [FLAC 24 bit, 48 kHz]

The critically acclaimed Italian composer Vito Palumbo has had works performed all over the world by leading orchestras. He began his career with postmodern experimentation, going on to different forms of music theatre. In recent years Palumbo has focused on works for full orchestra, exploring the possibilities of colours and textures – sometimes with the help of electronics – and putting the concept of ‘historical memory’ at the centre of his own composing.

Franz Halász, Débora Halász – Beethoven: Works for Guitar & Piano (2020) [FLAC 24 bit, 96 kHz]

Franz Halász, Débora Halász – Beethoven: Works for Guitar & Piano (2020) [FLAC 24 bit, 96 kHz]

Around 1800 Vienna was, alongside Paris, one of the European centres for guitar performance. The instrument was well suited for the idiom of Viennese classicism and ideal for domestic music-making and it was promoted by figures such as the virtuoso Mauro Giuliani and the composer/publisher Anton Diabelli. But Beethoven, the towering giant of musical Vienna, seems to have been unmoved by the charms of the guitar – while instead composing for its sibling, the mandolin.

Frank Peter Zimmermann – Beethoven: Violin Sonatas Nos. 1-4 (2020) [FLAC 24 bit, 96 kHz]

Frank Peter Zimmermann – Beethoven: Violin Sonatas Nos. 1-4 (2020) [FLAC 24 bit, 96 kHz]

Highly regarded as soloists as well as chamber musicians, Frank Peter Zimmermann and Martin Helmchen are also known for an unostentatious and selfless musicianship which never obscures the music they are performing. When they started their collaboration in 2018, it was with the aim of playing and recording Beethoven’s 12 violin sonatas. A series of recitals at prestigious venues and festivals was followed by the first recording sessions, which took place in September 2019. Enjoy the results! Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. Making his début with the Berlin Philharmonic, conducted by Daniel Barenboim, in 1985, and with the Vienna Philharmonic Orchestra in 1983under Lorin Maazel, he performs with all major orchestras worldwide, including the Concertgebouworkest, all the London orchestras and the leading orchestras in the United States. He is a regular guest at the major music festivals, including Salzburg, Edinburgh and Lucerne. Martin Helmchen has established himself as one of the most prominent pianists of the younger generation. He performs with orchestras such as the London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Boston Symphony Orchestra and New York Philharmonic as well as the Leipzig Gewandhaus Orchestra, Wiener Symphoniker, Tonhalle-Orchester Zürich, Orchestre de Paris, Oslo Philharmonic and Royal Stockholm Philharmonic Orchestra. He enjoys collaborations with conductors such as Herbert Blomstedt, Christoph von Dohnányi, Valery Gergiev, Philippe Herreweghe, Paavo Järvi and Vladimir Jurowski.

Ansgar Krause – J.S. Bach: The Lute Suites (2019) [FLAC 24 bit, 96 kHz]

Ansgar Krause – J.S. Bach: The Lute Suites (2019) [FLAC 24 bit, 96 kHz]

There is no reason not to play Bach’s solo lute suites on a guitar. Even beyond the usual Baroque propensity for transcribing and arranging works freely, the lute suites were not composed as a set and are of murky origins; it’s not even known whether they were originally for the lute at all. Guitar heavyweights including John Williams have played these pieces, but Franz Halász here delivers beautiful, highly expressive readings that can stand with any other out there. Halász takes each movement as its own expressive whole. He applies a good deal of tempo rubato, but he always establishes a basic tempo firmly, and sometimes he dispenses with the rubato for the most part. Sample the liquid Prelude of the Suite for lute in E minor, BWV 996, which harks back to the prelude’s improvisatory origins. On the other hand, the Sarabande from the late Suite (or Partita) in C minor, BWV 997, is a somber, passionate piece, with the tempo varied expressively but held in perfect control by Halász. He adds substantial ornamentation on repeats, but it neither draws attention to itself nor lets you hear the effort on the part of the performer. These are performances that respect both Bach’s grace and his depth, and they are augmented by superior sound engineering from BIS, accomplished at the Großer Saal of the Hochschule für Musik und Theater in Munich. A standout Bach recording.

Fredrik Ullen – Sorabji – 100 Transcendental Studies, Nos. 84-100 (2020) [FLAC 24 bit, 96 kHz]

Fredrik Ullen – Sorabji – 100 Transcendental Studies, Nos. 84-100 (2020) [FLAC 24 bit, 96 kHz]

By far the largest collection of concert etudes in the known repertoire, Kaikhosru Sorabji’s set of 100 Transcendental Studies, composed between 1940 and 1944, has a total duration of more than eight hours. On five previous discs, the Swedish pianist (and neuroscientist) Fredrik Ullen has introduced the first 83 etudes to a wider audience, the large majority of them appearing on disc for the first time. Now, 15 years after the release of the first volume comes the final installment, a 2-album set with the last 17 studies. In his own liner notes, Ullen describes the experience of learning and recording the collection: ‘From the F sharp minor of Study 1 to the F sharp minor chord concluding Study 100: traversing Sorabji’s Transcendental Studies has been somewhat like joining a comet following a long eccentric orbit through pianistic outer space, and finally returning back to mother earth.’

Franz Halász – Spain (2021) [FLAC 24 bit, 96 kHz]

Franz Halász – Spain (2021) [FLAC 24 bit, 96 kHz]

In June of 1922, a cultural fiesta took place on the grounds of Granada’s Alhambra palace, organized by Manuel de Falla and Federico García Lorca. The aim of the event was to preserve the “purity” of flamenco art and the opening performance was given by 29-year-old guitarist Andrés Segovia. Ironically, Segovia played de Falla’s Hommage to Claude Debussy (featured on this album – a work which can hardly be described as pure flamenco. But this can be seen as symptomatic of an important trait in the music of 20th-century Spain: Certain composers defended what they believed to be a noble, gallant and Castilian ideal, while others embarked on an quest to restore the “lost purity” of the peasantry, but embracing Modernism and Impressionism as stylistic tools in order to do so.

Frank Peter Zimmermann – J.S. Bach: Sonatas & Partitas, Vol. 1 (2022) [FLAC 24bit, 96 kHz]

Frank Peter Zimmermann – J.S. Bach: Sonatas & Partitas, Vol. 1 (2022) [FLAC 24bit, 96 kHz]

Since the mid-1980s, Frank Peter Zimmermann has earned recognition as one of the leading violinists, admired not only for his technical skill and interpretive intelligence, but also for his versatility in a wide-ranging repertoire. His extensive discography spans from Bach concertos and Beethoven sonatas to works by composers such as Ligeti, Magnus Lindberg and Brett Dean. But during the four decades that Zimmermann has been making recordings, he has never previously recorded Bach’s Sei solo, the six sonatas and partitas for solo violin which form an absolute pinnacle in the repertoire for the instrument.

Frank Peter Zimmermann, Bamberg Symphony Orchestra, Jakub Hrůša – Martinů: Violin Concertos Nos. 1 & 2 – Bartók: Sonata for Solo Violin (2020) [FLAC 24 bit, 96 kHz]

Frank Peter Zimmermann, Bamberg Symphony Orchestra, Jakub Hrůša – Martinů: Violin Concertos Nos. 1 & 2 – Bartók: Sonata for Solo Violin (2020) [FLAC 24 bit, 96 kHz]

Frank Peter Zimmermann, one of today’s most highly regarded violinists, takes our breath away with this recording together with the Bamberger Symphoniker and their chief conductor Jakub Hruša – one of the leading Martinu conductors of today. They start off by exploring the lyrical side of Bohuslav Martinu, offered in the Second Violin Concerto (1943), to dive into the neo-classical idiom championed by Stravinsky that informs the composer’s Violin Concerto No. 1. Béla Bartók’s Sonata for Solo Violin closes the album. Composed in 1944, only a year before Bartók’s death, it is a deeply personal statement which fuses the overall layout of Bach’s solo violin sonatas with Hungarian folk tradition with results that are as fascinating to the listener as they are challenging to the performer.

Freddy Kempf – MUSSORGSKY, M.P.: Pictures at an Exhibition / RAVEL, M.: Gaspard de la nuit / BALAKIREV, M.A.: Islamey (Kempf) (2008) [FLAC 24 bit, 88,2 kHz]

Freddy Kempf – MUSSORGSKY, M.P.: Pictures at an Exhibition / RAVEL, M.: Gaspard de la nuit / BALAKIREV, M.A.: Islamey (Kempf) (2008) [FLAC 24 bit, 88,2 kHz]

Partly on the basis of his several discs on BIS, Freddy Kempf enjoys a reputation as an explosive and physical performer but also as a highly sensitive artist. His performance of Chopin’s Etudes received high praise, for instance in American Record Guide: ‘At 27, Kempf has attained something most pianists strive for over an entire lifetime … This release can justly take its place among the very finest recordings of Chopin’s Etudes. The set of Liszt’s Transcendental Etudes was equally well received: ‘Kempf captures the essence of Liszt in playing of wistful nostalgia, yearning passion, with arpeggios and cadenzas that shimmer and scintillate’ (International Piano). The programme on the present release bears witness to Liszt’s contribution to piano writing: three central works in the great virtuoso literature for solo piano with qualities in terms of characterisation and timbre that have led them all to become the objects of orchestral arrangements – in the case of Mussorgsky’s Pictures numerous times. Pictures from an Exhibition was composed in only three weeks in 1874, in a sort of creative frenzy following the death of Mussorgsky’s friend, the painter and architect Viktor Hartmann. Some of the pictures by Hartmann that inspired Mussorgsky have now disappeared; those that have survived can be seen at the Tretyakov Gallery in Moscow. But to search for a direct correspondence between the pictures and their musical counterparts would be pointless: Mussorgsky sought to portray Hartmann’s world more intuitively. Balakirev’s Islamey was composed five years earlier, and is based on two themes. The first, called ‘Islamey’, is a melody from north Caucasia, and the second is a Tatar melody from the Crimea. It was long regarded as the most difficult work in the entire piano repertory, and in fact, when Ravel 1908 composed Scarbo, the third movement of Gaspard de la Nuit, he specifically wanted to write something that would be even more difficult. Based, like the other two movements, on a prose poem by the French fantastic writer Aloysius Bertrand, Scarbo is the depiction of an evil spirit of the night, while Ondine describes the futile love of a water nymph for the poet, and Le Gibet a hanged man and his gallows.

Fanie Antonelou, Kerstin Mörk – Affinities: Greek and German Art Songs (2019) [FLAC 24 bit, 96 kHz]

Fanie Antonelou, Kerstin Mörk – Affinities: Greek and German Art Songs (2019) [FLAC 24 bit, 96 kHz]

The Greek soprano Fanie Antonelou and German pianist Kerstin Mörk here join forces in an exciting project, entitled ‘Affinities’. In a carefully constructed sequence of 23 songs, they explore the kinship between Greek and German art songs – a varied one, filtered through friendships, family connections and teacher-pupil relationships.

Sharon Bezaly, Love Derwinger, Barbara Hendricks – French Delights (2007) [FLAC 24 bit, 44,1 kHz]

Sharon Bezaly, Love Derwinger, Barbara Hendricks – French Delights (2007) [FLAC 24 bit, 44,1 kHz]

During long periods the flute has been almost synonymous with France, the country from which the music, the great players and the finest instruments all came. The French flute – whether dreamy as in Debussy’s Syrinx or sprightly as in Poulenc’s Sonata – is simply unmistakeably French, in all its delights. On her new release, renowned flutist Sharon Bezaly – who herself studied in Paris – celebrates this tradition, with a programme consisting of works composed between 1889 and 1946. Among the composers, some – Widor and Milhaud – are more famous than others, but not necessarily for their flute works. (Widor, for instance, is mainly known for his organ compositions.) Others are closely associated with the flute and, indeed, with the works here recorded. Roussel’s Joueurs de flûte is a case in point: a panorama of the flute through the ages in which each of the four movements evokes a mythical flutist, such as the Greek god Pan and the Hindu deity Krishna. Roussel has also composed the settings of two poems by Ronsard, in which Sharon Bezaly is joined by Barbara Hendricks. French Delights is something of a companion piece to a previous Bezaly disc: Café au Lait, a predominantly French flute recital accompanied by Roland Pöntinen. Upon its release that disc, and the artistry of Sharon Bezaly, were highly acclaimed, for instance in French magazine Diapason: ‘The flute turns into the voice of enchantment, a lullaby of the senses or an invitation to dreamfulness, into planing light or the glitter of light on water – an instrument almost too beautiful.’ Here again, with the support of eminent pianist Love Derwinger, Sharon Bezaly displays her prodigious talent.

Frank Peter Zimmermann – Bach: Sonatas and Partitas, Vol. 2 (2023) [FLAC 24 bit, 96 kHz]

Frank Peter Zimmermann – Bach: Sonatas and Partitas, Vol. 2 (2023) [FLAC 24 bit, 96 kHz]

Since the mid-1980s, Frank Peter Zimmermann has earned recognition as one of the world’s leading violinists, admired not only for his technical skill and interpretive intelligence, but also for his versatility in a wide-ranging repertoire. His extensive discography ranges from Bach concertos and Beethoven sonatas to works by composers such as Martinů, Ligeti, Magnus Lindberg and Brett Dean. He waited until the fourth decade of his career, however, to take on Bach’s Sei solo a Violino senza Basso accompagnato, the six sonatas and partitas for solo violin. The first disc (BIS-2577) dedicated to this absolute pinnacle in the repertoire for the instrument was released in February 2022 to great critical acclaim. Now comes the much-awaited conclusion to this collection. Zimmermann compares these works to ‘a mighty tree, which protects me and crushes me at the same time’, the music giving him hope and strength at the same time as it confronts him with his limits as a violinist. On this new release, he now offers us the Sonata No. 1 in G minor, as well as the B minor Partita No. 1 and the Sonata No. 3 in C major.

Fieri Consort, Chelys Consort of Viols – Amavi: Music for Viols & Voices by Michael East (2021) [FLAC 24 bit, 192 kHz]

Fieri Consort, Chelys Consort of Viols – Amavi: Music for Viols & Voices by Michael East (2021) [FLAC 24 bit, 192 kHz]

Running through this album is a path from despair and sin through revelation, repentance and belief, to life, triumph and finally love. The stations on the way are eight five-part fantasias for viols by Michael East (1580–1648), unusual in that each of them has a Latin title – from “Desperavi” to “Amavi”. In his time, East was one of England’s most published composers with seven books of his compositions in print, all of them containing music for viols and voices. The fantasias are here performed by the five members of Chelys Consort of Viols, who together with the singers in Fieri Consort have selected vocal items by East to complement each of the instrumental pieces.

Frank Peter Zimmermann, Martin Helmchen – Beethoven: Violin Sonatas Nos. 5-7 (2021) [FLAC 24 bit, 96 kHz]

Frank Peter Zimmermann, Martin Helmchen – Beethoven: Violin Sonatas Nos. 5-7 (2021) [FLAC 24 bit, 96 kHz]

2020 saw the release of the first instalment in this three-album traversal of Beethoven’s Violin Sonatas – a recording that has garnered many distinctions. As Frank Peter Zimmermann and Martin Helmchen open the second step, they do so with the iconic “Spring” Sonata, Op. 24. Completed in 1801, the work proved immediately popular with a second edition appearing only months after the first publication. There were also numerous arrangements for a variety of forces – including a song based on motifs from the sonata’s slow movement.

Emma Abbate, Julian Perkins – Tournament for Twenty Fingers (2022) [FLAC 24bit, 96 kHz]

Emma Abbate, Julian Perkins – Tournament for Twenty Fingers (2022) [FLAC 24bit, 96 kHz]

Initially enjoying popularity first in Germany-speaking lands and then in France, the genre of the piano duet (four hands, one piano) went on to blossom in England during the 20th century. On this album Emma Abbate and Julian Perkins present the complete works for piano duet by each of the composers selected. Palm Court Waltz, the Sonatina and Theme and Variations from Lennox Berkeley display Gallic traits, the consequence no doubt of his studies in France and his keen interest in the music of Satie, Ravel and Poulenc. While showing an evolution in the composer’s approach to tonality, every hint of seriousness is constantly balanced by elegant playfulness and diaphanous textures.

Elin Rombo, Peter Friis Johansson – At Home with Hugo Alfvén: Songs & Piano Pieces (2022) [FLAC 24bit, 96 kHz]

Elin Rombo, Peter Friis Johansson – At Home with Hugo Alfvén: Songs & Piano Pieces (2022) [FLAC 24bit, 96 kHz]

During his lifetime, Hugo Alfvén became known as one of Sweden’s principal composers of his time, with works that struck a chord with a wide audience. As a result of his popularity, a nationwide collection was held in celebration of his 70th birthday in 1942, with the proceeds used to build Alfvéngården, the composer’s home during his final years. Now, 80 years later, Elin Rombo and Peter Friis Johansson are releasing their tribute to Alfvén’s 150th anniversary, recorded at Alfvéngården using the composer’s own piano.

Estonian Philharmonic Chamber Choir, Kaspars Putniņš – Rachmaninoff: Liturgy of St. John Chrysostom, Op. 31 (Excerpts) (2022) [FLAC 24bit, 96 kHz]

Estonian Philharmonic Chamber Choir, Kaspars Putniņš – Rachmaninoff: Liturgy of St. John Chrysostom, Op. 31 (Excerpts) (2022) [FLAC 24bit, 96 kHz]

The music of the Russian Orthodox Church was an essential part of Sergei Rachmaninoff’s musical background. As a boy he was deeply moved by the sound of St. Petersburg’s cathedral choirs, and phrases reminiscent of liturgical chant permeate his music. His Vespers has long been admired as a summit of Russian liturgical music. It has unfortunately tended to overshadow the Liturgy of St. John Chrysostom, his earlier large-scale sacred composition. Named after the fourth-century Archbishop of Constantinople and Church Father, the Liturgy consists of a sequence of prayers, psalms and hymns, which are sung or chanted by the different participants in the service.

Ellen Nisbeth, Norrköping Symphony Orchestra, Christian Lindberg – Pettersson: Symphony No. 15 & Viola Concerto (2022) [FLAC 24bit, 96 kHz]

Ellen Nisbeth, Norrköping Symphony Orchestra, Christian Lindberg – Pettersson: Symphony No. 15 & Viola Concerto (2022) [FLAC 24bit, 96 kHz]

Allan Pettersson’s Symphony No. 15 is characterized by a high degree of tension right from the striking opening: brief, emphatic chords from horns and trombones above the tremolo of a side drum. Soon an expressive melodic subject is heard from the first violins, followed by contrasting rapid scales – at which point Pettersson has presented the greater part of the symphony’s building blocks. Like so many of the composer’s symphonies, the 15th is in one movement, but with clearly defined sections. It was completed in 1978, two years before Pettersson’s death, and was followed in 1979, by the sixteenth symphony, the last work that the composer submitted for performance.

Escher String Quartet – Mendelssohn: String Quartets Nos. 1 & 4 (2015) [FLAC 24 bit, 96 kHz]

Escher String Quartet – Mendelssohn: String Quartets Nos. 1 & 4 (2015) [FLAC 24 bit, 96 kHz]

Founded in 2005, the Escher String Quartet is still a young ensemble as string quartets go. It has nevertheless become established as one of the most exciting quartets around, both in its home country, the U.S.A., and elsewhere, recently being shortlisted for a BBC Music Magazine Award. With their début disc on BIS, the Eschers launch a three-disc cycle of Mendelssohn’s string quartets…