SIMON STEEN-ANDERSEN (b.1976) De Profundis (2000; world premiere recording of the 2019 version for bass clarinet) Jonas Frølund, bass clarinet, live in the Concert Church, Nørrebro, Copenhagen in the concert series Modern Mondays.

METTE NIELSEN (b.1985) Alone for basset clarinet (2021; written for Jonas Frølund; world premiere recording. Jonas Frølund, basset clarinet, live in the Concert Church, Nørrebro, Copenhagen in the concert series Modern Mondays.

Recorder, Michala Petri – viola da gamba, Hille Perl Johann Sebastian Bach (1685 - 1750) 4 Duets for recorder and viola da gamba 1 E Minor BWV 802 2 F Major BWV 803 3 G Major BWV 804 4 A Minor BWV 805 recorder, viola da gamba

In this video, we delve into the enchanting world of Hugo Distler's Christmas narrative, a hidden gem of sacred music. Conductor Carsten Seyer-Hansen, along with the remarkable Vocal Group Concert Clemens, takes us on a musical journey through this extraordinary composition. Hugo Distler, born in Nuremberg in 1908, was not only a talented composer but also a devoted teacher of church music. His deep religious convictions led him to create music that would later become a precursor to the New German Church Music movement of the 1930s. However, during the Nazi regime, his compositions were unfairly labeled as "degenerate art." When he received conscription papers, he tragically took his own life. To this day, Distler's music remains relatively undiscovered outside of Germany, despite its profound beauty and significance. Carsten Seyer-Hansen, the conductor extraordinaire, founded the award-winning vocal ensemble Concert Clemens in 1997. With 16 voices that have been praised for their pure and natural eloquence, this ensemble has become a leading force in Scandinavia's choral scene. Their versatility shines through in their diverse collaborations, exploring the harmonious intersection between jazz and classical music while delivering note-perfect interpretations of standard repertoire. One of Denmark's finest tenors, Adam Riis, takes on the role of the evangelist, lending his captivating voice to this musical journey. Recorded in the DXD format by the Danish "Wizard of Sound," Preben Iwan, the resonant acoustics of Skt. Markus Kirken in Århus provide the perfect backdrop for this mesmerizing performance. Throughout the narrative, you'll also hear the hauntingly beautiful choral "Es ist ein Ros entsprungen," which weaves its way through the story in ever-evolving harmonic colors. Join us as we explore the musical legacy of Hugo Distler and experience the magic of Concert Clemens, conducted by the talented Carsten Seyer-Hansen, in this enchanting Christmas narrative. Don't forget to like, subscribe, and share this video to spread the joy and knowledge of this remarkable musical journey!

Join us for a captivating musical journey as we present the mesmerizing performance of "Rain Falls" from Jakob Buchanan's album "SONG & WIND." This extraordinary event took place at Copenhagen Cathedral on October 13th, featuring the exceptional talents of the Copenhagen Royal Chapel Choir, Jakob Buchanan on flugelhorn, Mark Baumann on organ, and conductor Carsten Seyer-Hansen. "SONG & WIND" is a symphonic jazz composition, a true masterpiece, created for the Aarhus Jazz Orchestra, percussionist Marilyn Mazur, Copenhagen Royal Chapel Choir, Jakob Buchanan on flugelhorn, and conducted by the brilliant Carsten Seyer-Hansen. The album was released on OUR RECORDINGS on September 22, 2023. Don't miss this incredible performance that blends jazz and symphony in the heart of Copenhagen.

Live optagelse fra Værket i Randers. Musikken er af E. Lalo.

Regarded today as the embodiment of classical music at its most lyrical and poetic, composers have entrusted the cello with some of the loveliest melodies every penned. Yet, when it came to writing cello concertos, for most composers it was a “one and done” proposition. One of the major musical monuments in the cello literature is the Schumann Concerto, composed as Schumann himself said because “there are so few works for this lovely instrument.” In contrast, Soviet composer Dmitry Kabalevsky is one of the exceptions to the “one and done” rule. For a long time dismissed in the west as a mediocre apparatchik, a more evenhanded appraisal of Kabalevsky’s work reveals a consummate craftsman with a natural gift for folk-inspired melodies and vivid orchestrations. The Cello Concerto No.2 in C minor, Op.77, owes an obvious debt to his colleague and one-time neighbor Dmitri Shostakovich and is fully deserving of being This album marks the recording debut of the young Norwegian cellist, Theodor Lyngstad. Following studies at the Royal Danish Academy of Music with Morten Zeuthen, Lars Anders Tomter and David Geber at the Manhattan School of Music in New York, Theodor has been extremely active as a chamber musician as well as earning more than a few regional and national awards along the way, most significantly, the Léonie Sonning Talent Prize. In 2019, Lyngstad was appointed solo cellist in the Copenhagen Phil., the youngest musicians to attain that honor. Lyngstad is accompanied by the rising conductorial star Eva Ollikainen and the innovative Copenhagen Phil. Producer is the award-winning Daniel Davidsen.

Regarded today as the embodiment of classical music at its most lyrical and poetic, composers have entrusted the cello with some of the loveliest melodies every penned. Yet, when it came to writing cello concertos, for most composers it was a “one and done” proposition. One of the major musical monuments in the cello literature is the Schumann Concerto, composed as Schumann himself said because “there are so few works for this lovely instrument.” In contrast, Soviet composer Dmitry Kabalevsky is one of the exceptions to the “one and done” rule. For a long time dismissed in the west as a mediocre apparatchik, a more evenhanded appraisal of Kabalevsky’s work reveals a consummate craftsman with a natural gift for folk-inspired melodies and vivid orchestrations. The Cello Concerto No.2 in C minor, Op.77, owes an obvious debt to his colleague and one-time neighbor Dmitri Shostakovich and is fully deserving of being This album marks the recording debut of the young Norwegian cellist, Theodor Lyngstad. Following studies at the Royal Danish Academy of Music with Morten Zeuthen, Lars Anders Tomter and David Geber at the Manhattan School of Music in New York, Theodor has been extremely active as a chamber musician as well as earning more than a few regional and national awards along the way, most significantly, the Léonie Sonning Talent Prize. In 2019, Lyngstad was appointed solo cellist in the Copenhagen Phil., the youngest musicians to attain that honor. Lyngstad is accompanied by the rising conductorial star Eva Ollikainen and the innovative Copenhagen Phil. Producer is the award-winning Daniel Davidsen.

An unforgettable journey through one of the most powerful musical depictions of desolation. Schubert called Winterreise a cycle of “truly terrible songs,” not only for its immersive and dark subject matter but also for the compositional process itself. It is the Mount Everest of Song cycles, a form that Schubert himself perfected. Written on poems by Wilhelm Müller (1794-1827), the songs describe a timeless tale of heartbreak: boy meets girl, girl rejects boy, boy is overcome by existential feelings and sets out on a solitary winter’s journey that may result in his demise. But Schubert’s genius would not allow him to be content with vapid superficialities: when Schubert set these poems to music, he was confronting his own probable fate, one of agonizing pain and isolation. Winterreise was originally composed for the tenor voice, but it has been frequently transposed to accommodate the whole gamut of vocal tessituras. Danish bass-baritone and musical scholar Jakob Bloch Jespersen has mastered a range of repertoire from Schütz to Schierbecks and well into the 21st century. His burnished resonance and restrained sensitivity well-serve this existential Schubertiade. His partner, fortepianist Sharon Prushansky brings her expertise in music of the Classical and early Romantic eras, utilizing the full panoply of pianistic Affekt available to her on Robert Brown’s 2015 instrument after an original by Jakob Bertsche (ca. 1810-1815). Particularly noteworthy to this instrument are its six pedals, which serve the purpose of changing the quality and colour of the sound, including the infamous “bassoon stop!” A third, silent partner also contributes to this extraordinary production: the haunting, sepia-toned landscapes by the great Danish photographer, Tove Kurtzweil. Together, Jakob Bloch Jespersen and Sharon Prushansky take you on an unforgettable journey through one of the most powerful musical depictions of desolation this side of Mahler!

Out of Gesualdo’s dazzling yet murderous legacy, Peter Navarro-Alonso forges a modern composition where beautyand horror collide in a haunting fusion of voices and instruments. OUR Recordings is releasing this exceptional work by Peter Navarro-Alonso, featuring the Grammy-winning ensemble Theatre of Voices and Ensemble Stralo under the direction of PaulHillier. Carlo Gesualdo da Venosa (c. 1561–1613) was a Renaissance composer known for both his groundbreaking music and the infamous murder of his wife and her lover. While historical records about his personalityare limited and contradictory, his music, especially his 104 madrigals, is notable for its bold harmonicexperimentation, centuries ahead of its time. Composer Peter Navarro-Alonso, long fascinated by Gesualdo, created the hour-long piece In flagrante delicto in collaboration with violinist Christina Åstrand and conductorPaul Hillier. The composition explores the darkness of Gesualdo’s psyche through musical quotations and has been performed and recorded by Ensemble Stralo and Theatre of Voices.Peter Navarro-Alonso is a composer focused on drama, sound, and the human mind, known for exploring timbre and the concept of hope. He has written vocal, chamber, orchestral, and electroacoustic works, and received Denmark’s top music honor in 2023.Paul Hillier is a renowned singer, conductor, composer, and writer, known for founding the Hilliard Ensemble and Theatre of Voices. With nearly 200 acclaimed recordings, multiple awards, and honors from both the British and Danish monarchs, he has led major chamber choirs across Europe and is especially noted for hiscollaborations with composers Arvo Pärt and Steve Reich.Ensemble Stralo, founded in 2016 by four Danish soloists and chamber musicians, combines strings, winds, and keyboard to create a unique and flexible sound. They perform music from the Renaissance tocontemporary works, offering distinctive and engaging concert experiences. Recorded November 16-18 2024 in Garnisonskirken, Copenhagen by producer Preben Iwan in HD audioformat 96 kHz/32bit. Available in the Dolby Atmos format.

A partir del deslumbrante pero mortífero legado de Gesualdo, Peter Navarro-Alonso forja una composición moderna donde la belleza y el horror colisionan en una inquietante fusión de voces e instrumentos. OUR Recordings lanza esta excepcional obra de Peter Navarro-Alonso, con la participación del conjunto ganador del Grammy Theatre of Voices y el Ensemble Stralo bajo la dirección de Paul Hillier. Carlo Gesualdo da Venosa (c. 1561–1613) fue un compositor del Renacimiento conocido tanto por su música innovadora como por el infame asesinato de su esposa y su amante. Aunque los registros históricos sobre su personalidad son limitados y contradictorios, su música, especialmente sus 104 madrigales, destaca por su audaz experimentación armónica, siglos adelantada a su tiempo. El compositor Peter Navarro-Alonso, fascinado desde hace tiempo por Gesualdo, creó la obra de una hora de duración "In Flagrante Delicto" en colaboración con la violinista Christina Åstrand y el director Paul Hillier. La composición explora la oscuridad de la psique de Gesualdo a través de citas musicales, y ha sido interpretada y grabada por Ensemble Stralo y Theatre of Voices. Peter Navarro-Alonso es un compositor centrado en el drama, el sonido y la mente humana, conocido por explorar el timbre y el concepto de esperanza. Ha escrito obras vocales, de cámara, orquestales y electroacústicas, y recibió el máximo galardón musical de Dinamarca en 2023. Paul Hillier es un reconocido cantante, director, compositor y escritor, conocido por fundar el Hilliard Ensemble y Theatre of Voices. Con casi 200 grabaciones aclamadas, múltiples premios y honores tanto de la monarquía británica como danesa, ha dirigido importantes coros de cámara en toda Europa, y es especialmente conocido por sus colaboraciones con los compositores Arvo Pärt y Steve Reich. Ensemble Stralo, fundado en 2016 por cuatro solistas y músicos de cámara daneses, combina cuerdas, vientos y teclado para crear un sonido único y flexible. Interpretan música desde el Renacimiento hasta obras contemporáneas, ofreciendo experiencias de concierto distintivas y cautivadoras. Grabado del 16 al 18 de noviembre de 2024 en la iglesia de Garnisonskirken, Copenhague, por el productor Preben Iwan en formato de audio HD 96 kHz/32bit. Disponible en formato Dolby Atmos.

From the recording of the album IN FLAGRANTE DELICTO by composer Peter Navarro-Alonso with Theatre of Voices, Ensemble Stralo, and conductor Paul Hillier. This video is from the rehearsal of track 7, Tranquillo (La Folia). The recording took place at Garnisonskirken in Copenhagen, and the video was produced by Reinhard Wilting. The album was produced by Preben Iwan. Out of Gesualdo’s dazzling yet murderous legacy, Peter Navarro-Alonso forges a modern composition where beautyand horror collide in a haunting fusion of voices and instruments. OUR Recordings is releasing this exceptional work by Peter Navarro-Alonso, featuring the Grammy-winning ensemble Theatre of Voices and Ensemble Stralo under the direction of PaulHillier. Carlo Gesualdo da Venosa (c. 1561–1613) was a Renaissance composer known for both his groundbreaking music and the infamous murder of his wife and her lover. While historical records about his personalityare limited and contradictory, his music, especially his 104 madrigals, is notable for its bold harmonicexperimentation, centuries ahead of its time. Composer Peter Navarro-Alonso, long fascinated by Gesualdo, created the hour-long piece In flagrante delicto in collaboration with violinist Christina Åstrand and conductorPaul Hillier. The composition explores the darkness of Gesualdo’s psyche through musical quotations and has been performed and recorded by Ensemble Stralo and Theatre of Voices.Peter Navarro-Alonso is a composer focused on drama, sound, and the human mind, known for exploring timbre and the concept of hope. He has written vocal, chamber, orchestral, and electroacoustic works, and received Denmark’s top music honor in 2023.Paul Hillier is a renowned singer, conductor, composer, and writer, known for founding the Hilliard Ensemble and Theatre of Voices. With nearly 200 acclaimed recordings, multiple awards, and honors from both the British and Danish monarchs, he has led major chamber choirs across Europe and is especially noted for hiscollaborations with composers Arvo Pärt and Steve Reich.Ensemble Stralo, founded in 2016 by four Danish soloists and chamber musicians, combines strings, winds, and keyboard to create a unique and flexible sound. They perform music from the Renaissance tocontemporary works, offering distinctive and engaging concert experiences. Recorded November 16-18 2024 in Garnisonskirken, Copenhagen by producer Preben Iwan in HD audioformat 96 kHz/32bit. Available in the Dolby Atmos format.

De la grabación del álbum IN FLAGRANTE DELICTO del compositor Peter Navarro-Alonso con Theatre of Voices, Ensemble Stralo y el director Paul Hillier. Este video corresponde al ensayo de la pista 7, Tranquillo (La Folia). La grabación tuvo lugar en Garnisonskirken, en Copenhague, y el video fue producido por Reinhard Wilting. El álbum fue producido por Preben Iwan. A partir del deslumbrante pero mortífero legado de Gesualdo, Peter Navarro-Alonso forja una composición moderna donde la belleza y el horror colisionan en una inquietante fusión de voces e instrumentos. OUR Recordings lanza esta excepcional obra de Peter Navarro-Alonso, con la participación del conjunto ganador del Grammy Theatre of Voices y el Ensemble Stralo bajo la dirección de Paul Hillier. Carlo Gesualdo da Venosa (c. 1561–1613) fue un compositor del Renacimiento conocido tanto por su música innovadora como por el infame asesinato de su esposa y su amante. Aunque los registros históricos sobre su personalidad son limitados y contradictorios, su música, especialmente sus 104 madrigales, destaca por su audaz experimentación armónica, siglos adelantada a su tiempo. El compositor Peter Navarro-Alonso, fascinado desde hace tiempo por Gesualdo, creó la obra de una hora de duración "In Flagrante Delicto" en colaboración con la violinista Christina Åstrand y el director Paul Hillier. La composición explora la oscuridad de la psique de Gesualdo a través de citas musicales, y ha sido interpretada y grabada por Ensemble Stralo y Theatre of Voices. Peter Navarro-Alonso es un compositor centrado en el drama, el sonido y la mente humana, conocido por explorar el timbre y el concepto de esperanza. Ha escrito obras vocales, de cámara, orquestales y electroacústicas, y recibió el máximo galardón musical de Dinamarca en 2023. Paul Hillier es un reconocido cantante, director, compositor y escritor, conocido por fundar el Hilliard Ensemble y Theatre of Voices. Con casi 200 grabaciones aclamadas, múltiples premios y honores tanto de la monarquía británica como danesa, ha dirigido importantes coros de cámara en toda Europa, y es especialmente conocido por sus colaboraciones con los compositores Arvo Pärt y Steve Reich. Ensemble Stralo, fundado en 2016 por cuatro solistas y músicos de cámara daneses, combina cuerdas, vientos y teclado para crear un sonido único y flexible. Interpretan música desde el Renacimiento hasta obras contemporáneas, ofreciendo experiencias de concierto distintivas y cautivadoras. Grabado del 16 al 18 de noviembre de 2024 en la iglesia de Garnisonskirken, Copenhague, por el productor Preben Iwan en formato de audio HD 96 kHz/32bit. Disponible en formato Dolby Atmos.

Leading up to the worldwide release on October 3, Danish guitarist Niklas Johansen will share, on a couple of videos, his reflections during the work on Castelnuovo-Tedesco’s masterpiece "Platero y Yo" , 1 hour and 49 minutes in length, based on 28 prose poems of Juan Ramón Jiménez. Mario Castelnuovo-Tedesco’s 36-year collaboration with the legendary guitarist Andrés Segovia resulted in 35 works featuring the guitar, including three concertos several large cycles and numerous shorter pieces. Castelnuovo-Tedesco first met Segovia at a festival in Venice in 1932 and composed a new work for the legendary guitarist almost every year afterwards. Among the towering masterpieces in guitar literature is Castelnuovo- Tedesco’s Platero y Yo (Platero and I), a cycle of consisting of 28 settings, arranged into four groups of seven-movement suites with a total playing time of 1 hour and 49 minutes. Originally conceived as an accompaniment for a recitation of selections from the Nobel Prize winning Catalan poet Juan Ramon Jiménez’s collection of poetic sketches of the same name, the composer gave his permission for the work to be performed without spoken text, which is how it is performed here. You can read Jiménez’s texts in English translation while listening to the music and enjoying the wonderful illustrations for each movement by the award-winning artist Halfdan Pisket especially commissioned for this recording. In preparation for bringing this masterwork to life, internationally acclaimed, multi prize-winning Danish guitarist Niklas Johansen not only studies the Spanish language to appreciate Jiménez’s prose-poems in their native language, but travelled to Spain, not far from Jiménez’s hometown of Moguer. The close relationship with the language and culture has lent Johansen’s interpretations a personal resonance. This album was recorded in Fredensborg Palace Chapel by the Danish masters of sound, Preben Iwan and Mette Due who beautifully captured the exceptional acoustics. We wish to express our sincere thanks to His Majesty King Frederik X, who personally granted us permission to record in Fredensborg Palace Chapel.

Leading up to the worldwide release on October 3, Danish guitarist Niklas Johansen will share, on a couple of videos, his reflections during the work on Castelnuovo-Tedesco’s masterpiece "Platero y Yo" , 1 hour and 49 minutes in length, based on 28 prose poems of Juan Ramón Jiménez. Mario Castelnuovo-Tedesco’s 36-year collaboration with the legendary guitarist Andrés Segovia resulted in 35 works featuring the guitar, including three concertos several large cycles and numerous shorter pieces. Castelnuovo-Tedesco first met Segovia at a festival in Venice in 1932 and composed a new work for the legendary guitarist almost every year afterwards. Among the towering masterpieces in guitar literature is Castelnuovo- Tedesco’s Platero y Yo (Platero and I), a cycle of consisting of 28 settings, arranged into four groups of seven-movement suites with a total playing time of 1 hour and 49 minutes. Originally conceived as an accompaniment for a recitation of selections from the Nobel Prize winning Catalan poet Juan Ramon Jiménez’s collection of poetic sketches of the same name, the composer gave his permission for the work to be performed without spoken text, which is how it is performed here. You can read Jiménez’s texts in English translation while listening to the music and enjoying the wonderful illustrations for each movement by the award-winning artist Halfdan Pisket especially commissioned for this recording. In preparation for bringing this masterwork to life, internationally acclaimed, multi prize-winning Danish guitarist Niklas Johansen not only studies the Spanish language to appreciate Jiménez’s prose-poems in their native language, but travelled to Spain, not far from Jiménez’s hometown of Moguer. The close relationship with the language and culture has lent Johansen’s interpretations a personal resonance. This album was recorded in Fredensborg Palace Chapel by the Danish masters of sound, Preben Iwan and Mette Due who beautifully captured the exceptional acoustics. We wish to express our sincere thanks to His Majesty King Frederik X, who personally granted us permission to record in Fredensborg Palace Chapel.

Leading up to the worldwide release on October 3, Danish guitarist Niklas Johansen will share, on a couple of videos, his reflections during the work on Castelnuovo-Tedesco’s masterpiece "Platero y Yo" , 1 hour and 49 minutes in length, based on 28 prose poems of Juan Ramón Jiménez. Mario Castelnuovo-Tedesco’s 36-year collaboration with the legendary guitarist Andrés Segovia resulted in 35 works featuring the guitar, including three concertos several large cycles and numerous shorter pieces. Castelnuovo-Tedesco first met Segovia at a festival in Venice in 1932 and composed a new work for the legendary guitarist almost every year afterwards. Among the towering masterpieces in guitar literature is Castelnuovo- Tedesco’s Platero y Yo (Platero and I), a cycle of consisting of 28 settings, arranged into four groups of seven-movement suites with a total playing time of 1 hour and 49 minutes. Originally conceived as an accompaniment for a recitation of selections from the Nobel Prize winning Catalan poet Juan Ramon Jiménez’s collection of poetic sketches of the same name, the composer gave his permission for the work to be performed without spoken text, which is how it is performed here. You can read Jiménez’s texts in English translation while listening to the music and enjoying the wonderful illustrations for each movement by the award-winning artist Halfdan Pisket especially commissioned for this recording. In preparation for bringing this masterwork to life, internationally acclaimed, multi prize-winning Danish guitarist Niklas Johansen not only studies the Spanish language to appreciate Jiménez’s prose-poems in their native language, but travelled to Spain, not far from Jiménez’s hometown of Moguer. The close relationship with the language and culture has lent Johansen’s interpretations a personal resonance. This album was recorded in Fredensborg Palace Chapel by the Danish masters of sound, Preben Iwan and Mette Due who beautifully captured the exceptional acoustics. We wish to express our sincere thanks to His Majesty King Frederik X, who personally granted us permission to record in Fredensborg Palace Chapel.

Leading up to the worldwide release on October 3, Danish guitarist Niklas Johansen will share, on a couple of videos, his reflections during the work on Castelnuovo-Tedesco’s masterpiece "Platero y Yo" 1 hour and 49 minutes in length, based on 28 prose poems of Juan Ramón Jiménez. Mario Castelnuovo-Tedesco’s 36-year collaboration with the legendary guitarist Andrés Segovia resulted in 35 works featuring the guitar, including three concertos several large cycles and numerous shorter pieces. Castelnuovo-Tedesco first met Segovia at a festival in Venice in 1932 and composed a new work for the legendary guitarist almost every year afterwards. Among the towering masterpieces in guitar literature is Castelnuovo- Tedesco’s Platero y Yo (Platero and I), a cycle of consisting of 28 settings, arranged into four groups of seven-movement suites with a total playing time of 1 hour and 49 minutes. Originally conceived as an accompaniment for a recitation of selections from the Nobel Prize winning Catalan poet Juan Ramon Jiménez’s collection of poetic sketches of the same name, the composer gave his permission for the work to be performed without spoken text, which is how it is performed here. You can read Jiménez’s texts in English translation while listening to the music and enjoying the wonderful illustrations for each movement by the award-winning artist Halfdan Pisket especially commissioned for this recording. In preparation for bringing this masterwork to life, internationally acclaimed, multi prize-winning Danish guitarist Niklas Johansen not only studies the Spanish language to appreciate Jiménez’s prose-poems in their native language, but travelled to Spain, not far from Jiménez’s hometown of Moguer. The close relationship with the language and culture has lent Johansen’s interpretations a personal resonance. This album was recorded in Fredensborg Palace Chapel by the Danish masters of sound, Preben Iwan and Mette Due who beautifully captured the exceptional acoustics. We wish to express our sincere thanks to His Majesty King Frederik X, who personally granted us permission to record in Fredensborg Palace Chapel.

Leading up to the worldwide release on October 3, Danish guitarist Niklas Johansen will share, on a couple of videos, his reflections during the work on Castelnuovo-Tedesco’s masterpiece "Platero y Yo" , 1 hour and 49 minutes in length, based on 28 prose poems of Juan Ramón Jiménez. Mario Castelnuovo-Tedesco’s 36-year collaboration with the legendary guitarist Andrés Segovia resulted in 35 works featuring the guitar, including three concertos several large cycles and numerous shorter pieces. Castelnuovo-Tedesco first met Segovia at a festival in Venice in 1932 and composed a new work for the legendary guitarist almost every year afterwards. Among the towering masterpieces in guitar literature is Castelnuovo- Tedesco’s Platero y Yo (Platero and I), a cycle of consisting of 28 settings, arranged into four groups of seven-movement suites with a total playing time of 1 hour and 49 minutes. Originally conceived as an accompaniment for a recitation of selections from the Nobel Prize winning Catalan poet Juan Ramon Jiménez’s collection of poetic sketches of the same name, the composer gave his permission for the work to be performed without spoken text, which is how it is performed here. You can read Jiménez’s texts in English translation while listening to the music and enjoying the wonderful illustrations for each movement by the award-winning artist Halfdan Pisket especially commissioned for this recording. In preparation for bringing this masterwork to life, internationally acclaimed, multi prize-winning Danish guitarist Niklas Johansen not only studies the Spanish language to appreciate Jiménez’s prose-poems in their native language, but travelled to Spain, not far from Jiménez’s hometown of Moguer. The close relationship with the language and culture has lent Johansen’s interpretations a personal resonance. This album was recorded in Fredensborg Palace Chapel by the Danish masters of sound, Preben Iwan and Mette Due who beautifully captured the exceptional acoustics. We wish to express our sincere thanks to His Majesty King Frederik X, who personally granted us permission to record in Fredensborg Palace Chapel.

Leading up to the worldwide release on October 3, Danish guitarist Niklas Johansen will share, on a couple of videos, his reflections during the work on Castelnuovo-Tedesco’s masterpiece "Platero y Yo" , 1 hour and 49 minutes in length, based on 28 prose poems of Juan Ramón Jiménez. Mario Castelnuovo-Tedesco’s 36-year collaboration with the legendary guitarist Andrés Segovia resulted in 35 works featuring the guitar, including three concertos several large cycles and numerous shorter pieces. Castelnuovo-Tedesco first met Segovia at a festival in Venice in 1932 and composed a new work for the legendary guitarist almost every year afterwards. Among the towering masterpieces in guitar literature is Castelnuovo- Tedesco’s Platero y Yo (Platero and I), a cycle of consisting of 28 settings, arranged into four groups of seven-movement suites with a total playing time of 1 hour and 49 minutes. Originally conceived as an accompaniment for a recitation of selections from the Nobel Prize winning Catalan poet Juan Ramon Jiménez’s collection of poetic sketches of the same name, the composer gave his permission for the work to be performed without spoken text, which is how it is performed here. You can read Jiménez’s texts in English translation while listening to the music and enjoying the wonderful illustrations for each movement by the award-winning artist Halfdan Pisket especially commissioned for this recording. In preparation for bringing this masterwork to life, internationally acclaimed, multi prize-winning Danish guitarist Niklas Johansen not only studies the Spanish language to appreciate Jiménez’s prose-poems in their native language, but travelled to Spain, not far from Jiménez’s hometown of Moguer. The close relationship with the language and culture has lent Johansen’s interpretations a personal resonance. This album was recorded in Fredensborg Palace Chapel by the Danish masters of sound, Preben Iwan and Mette Due who beautifully captured the exceptional acoustics. We wish to express our sincere thanks to His Majesty King Frederik X, who personally granted us permission to record in Fredensborg Palace Chapel.

OUR Recordings' collaboration with the Danish National Vocal Ensemble continues with an intriguing album featuring music by Slovenian composer Uroš Krek and Danish electronic music pioneer Else Marie Pade. The ensemble’s new chief conductor, Martina Batič, is Slovenian, so it felt natural to pair works by both a Slovenian and a Danish composer. The album is titled O LISTEN, and in the video below, the ensemble’s artistic director Michael Emery, chief conductor Martina Batič, technician Mikkel Nymand, and soprano soloist Anna Miilmann discuss the project. The album will have its Danish release at a reception at DR Studio 2 on December 2nd at 3 PM, on what would have been Else Marie Pade’s 100th birthday.

Cost of the Sirenes by Axel Borup-Jørgensen from 90 years birthsday concert at the Glyptoteket with Aarhus Sinfonetta with soprano Signe Asmussen.

90 years Birthday for the Danish Concert at the Arts Museum Glyptoteket in Copenhagen with Århus Sinfonietta.

Last week, I was awarded the Axel Borup-Jørgensen Composer Prize 2024 at a concert with Michala Petri in Klassisk Musikforening - Herlev. Axel's daughter, Elisabet Selin, presented the prize, and as part of the award, I was tasked with composing a new piece to be premiered at the prize ceremony. The new piece, "Refleksion" is for tenor recorder and guitar. I have just received a "handheld" video recording of the premiere from the Klassisk Musikforening i Herlev. As you can hear, it represents a completely different approach to composition compared to what normally flows from my pen. I based the work on the names AXEL and ELISABET, constructing two tone rows, which I then consistently worked with throughout the piece. The AXEL tone row is featured in the guitar, while the ELISABET tone row is played by the recorder. Many thanks again to Elisabet Selin for considering me for this award. Video Brohammer foto.

Pianist Rikke Sandberg, who recently released ESPANSIVA with Kristoffer Hyldig, an album of Carl Nielsen’s own arrangements for four-hand piano, discusses in the video below her upcoming major project: recording all of Carl Nielsen’s solo piano works, including pieces that have never been recorded before. Release is scheduled to be 2026.

Sound on Life is about the life of the composer Else Marie Pade (1924-2016) and her music. Eighty-year-old Else Marie Pade is one of the great phenomena of Danish music history, who has had a renaissance among the techno-audience. She’s become a cult figure. EMP got her inspiration from her isolation and the world surrounding her. As a child, she was often ill and bedridden. She listened to the sounds around her, on the stairs, from the yard and from the room next to hers. This is where her audio universe began. During the Second World War, EMP was captured by the Gestapo and put into solitary confinement. Rather than despair, she started to compose music on the bare prison walls, where she scratched the notes with the fasteners of her garters. After the war, when hearing French avant-garde concrete music, she realized that the sounds resembled those that she’d heard in childhood, and it was this music that she really wanted to compose. She became the first Dane who committed her life to concrete – and electronic music – but she had to wait 50 years before she was “discovered”. Sound on Life was awarded the Danish Film Academy Award "Robert" for co-direction of Best Short Documentary of the year 2007. Produced by https://www.sfinxfilmgallery.com in co-production with DRTV Written and directed by: Katia Forbert Petersen & Iben Haahr Andersen Director of Photography: Katia Forbert Petersen Producer: Annette Mari Olsen Duration: 41 minutes

The latest release from the internationally acclaimed, multi-award-winning Danish National Vocal Ensemble marks an extraordinary milestone in the choir’s history with the appointment of their new Chief Conductor, Martina Batič, and it was clear from the very beginning there was a special connection between her and the choir's singers! For her OUR Recordings debut, maestra Batič has chosen the works of two composers, both of whom may well come as revelations to music lovers. Opening the album is a selection of works from one of the musical heroes of her homeland, the Slovenian composer Uroš Krek. Highly regarded in his homeland, Krek’s stylistically accessible, well-crafted music is seldom heard internationally, making this musical encounter particularly valuable. A fluid pan-tonality informed the Three Autumn Songs while the other selections freely draw upon folk-influences and orthodox polyphony. As a calling card to her new Danish friends, Maestra Batič makes an extraordinary artistic statement presenting the choral music of Else Marie Pade! Rightly celebrated as one of the pioneers of electronic music, Pade also composed an extraordinary catalogue of works for acoustic instruments and voice. As beautifully score the pair of stunning works from the 1950s are, nothing could prepare us for the World Premiere Recording of Pade’s extraordinary “Maria (1980) Scored for coloratura soprano, bass baritone, speaking choir and 7 trombones, and electronic sounds. The amazing high soprano Anna Miilmann performs the solo part like an angel. Written as spiritual self-solace to comfort her from her trauma during the war, ‘Maria’ is a modernist musical Rosary, and a masterwork of contemporary religious music. Truly, Martina Batič and the Danish National Vocal Ensemble has taken us on an amazing journey you will not want to miss!

Although Axel Borup-Jørgensen had a strong focus on the recorder, he never composed a recorder concerto. As a special tribute to Axel Borup-Jørgensen's work and his fondness for the recorder, The Danish Sinfonietta has commissioned a new recorder concerto by Mogens Christensen for this concert. Mogens Christensen writes the following about the new recorder concerto, dedicated to Axel Borup-Jørgensen, Michala Petri, and The Danish Sinfonietta. "Pergolato Specchiato" in Italian can mean "mirrored trellis." More precisely, Pergolato is also the title of the last piece Axel Borup-Jørgensen composed—a solo recorder piece written for Michala Petri in 2010. "Pergolato Specchiato" mirrors Borup's piece, but the reflection reveals something different from the original. Borup's quiet, solitary notes are spread out, either as soundscapes that, like clouds on a summer day, weave into one another, or as melodies that, like a lark high, high above, gild the landscape with its song. Requiem...? If so, it is more "In Paradisum" than "Dies Irae."

Intrada op. 149 (1993-94) for solo percussion Borup-Jørgensen wrote prolifically and expressive for percussion from the beginning of his career (music for percussion and viola, op. 18 (1955-56)) and he had both a deep appreciation for the universe of sonorities possible with percussion instruments but more importantly, a respect and appreciation for the limitless creativity of the percussionists who’d perform his music. While many details are notated with his characteristic specificity, Intrada leaves many passages open to improvisation, relying on graphic notation and verbal suggestions. Additionally, while nominally scored for traditional percussion (Tom Toms, Bongos, Pictcher percussion such as Glockenspiel, Vibraphone and Marimba) the bulk of the music’s narrative is profelled by “found sounds” such as glass bottles, suspended springs, an anvil, pieces, of glass and the rather unusual inclusion of the steel pan drum. Borup-Jørgensen employs this “junk yard” assembly with remarkable finesse, creating waves of shimmering textures, punctuated by the sheen of high-pitched metallic percussion. The work concluding with a clatter of cymbals and a series of emphatic tattoos on the tenor drums.

First recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought to life of Rikke Sandberg and Kristoffer Hyldig. Video Nikolaj Lund When Danish composer Carl Nielsen finished his Third Symphony, he spoke of the first movement as “a gust of energy and life-affirmation blown out into the wide world” and called the finale of his Third Symphony “a hymn to work and the healthy activity of everyday life” – truly a sense of optimism all-too-rare for us denizens of the 21st century! So, why a four-hand arrangement of an orchestral score you ask? In the days before mechanical recordings, four hand arrangements were both a delightful social activity and an invaluable means of making large-scale works available to gifted amateurs who might not otherwise have opportunity to hear them in concert as well as promote them to conductors and concert programmers. As pianist Rikke Sandberg and Nielsen scholar Niels Bo Foltmann describe in the booklet notes, the discovery of the manuscript of Nielsen’s OWN arrangement “Sinfonia Espansiva” was itself a tale of luck and diligent librarianship. Also included on this all WORLD PREMIERE RECORDING album are 2 works from Nielsen’s Opera Saul & David, arranged by Nielsen for piano duet, and an oddity recently discovered in the archives of the Tivoli Amusement Park, the original four-handed sketch for the Højby Rifle Club March composed by Nielsens’ father, and arranged by Carl Nielsen/Kristoffer Hyldig. We hope that you will enjoy this first recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought brilliantly to life through the musicianship and scholarship of Rikke Sandberg and Kristoffer Hyldig. Recorded by Preben Iwan in the DXD audio format (Digital eXtreme Definition, 352.8 kHz/32bit) and, available in the Dolby Atmos format on streaming platforms. Also available on Vinyl.

First recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought to life of Rikke Sandberg and Kristoffer Hyldig. Video: Nikolaj Lund When Danish composer Carl Nielsen finished his Third Symphony, he spoke of the first movement as “a gust of energy and life-affirmation blown out into the wide world” and called the finale of his Third Symphony “a hymn to work and the healthy activity of everyday life” – truly a sense of optimism all-too-rare for us denizens of the 21st century! So, why a four-hand arrangement of an orchestral score you ask? In the days before mechanical recordings, four hand arrangements were both a delightful social activity and an invaluable means of making large-scale works available to gifted amateurs who might not otherwise have opportunity to hear them in concert as well as promote them to conductors and concert programmers. As pianist Rikke Sandberg and Nielsen scholar Niels Bo Foltmann describe in the booklet notes, the discovery of the manuscript of Nielsen’s OWN arrangement “Sinfonia Espansiva” was itself a tale of luck and diligent librarianship. Also included on this all WORLD PREMIERE RECORDING album are 2 works from Nielsen’s Opera Saul & David, arranged by Nielsen for piano duet, and an oddity recently discovered in the archives of the Tivoli Amusement Park, the original four-handed sketch for the Højby Rifle Club March composed by Nielsens’ father, and arranged by Carl Nielsen/Kristoffer Hyldig. We hope that you will enjoy this first recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought brilliantly to life through the musicianship and scholarship of Rikke Sandberg and Kristoffer Hyldig. Recorded by Preben Iwan in the DXD audio format (Digital eXtreme Definition, 352.8 kHz/32bit) and, available in the Dolby Atmos format on streaming platforms. Also available on Vinyl.

First recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought to life of Rikke Sandberg and Kristoffer Hyldig. Video made by Video artist Nikolaj Lund. When Danish composer Carl Nielsen finished his Third Symphony, he spoke of the first movement as “a gust of energy and life-affirmation blown out into the wide world” and called the finale of his Third Symphony “a hymn to work and the healthy activity of everyday life” – truly a sense of optimism all-too-rare for us denizens of the 21st century! So, why a four-hand arrangement of an orchestral score you ask? In the days before mechanical recordings, four hand arrangements were both a delightful social activity and an invaluable means of making large-scale works available to gifted amateurs who might not otherwise have opportunity to hear them in concert as well as promote them to conductors and concert programmers. As pianist Rikke Sandberg and Nielsen scholar Niels Bo Foltmann describe in the booklet notes, the discovery of the manuscript of Nielsen’s OWN arrangement “Sinfonia Espansiva” was itself a tale of luck and diligent librarianship. Also included on this all WORLD PREMIERE RECORDING album are 2 works from Nielsen’s Opera Saul & David, arranged by Nielsen for piano duet, and an oddity recently discovered in the archives of the Tivoli Amusement Park, the original four-handed sketch for the Højby Rifle Club March composed by Nielsens’ father, and arranged by Carl Nielsen/Kristoffer Hyldig. We hope that you will enjoy this first recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought brilliantly to life through the musicianship and scholarship of Rikke Sandberg and Kristoffer Hyldig. Recorded by Preben Iwan in the DXD audio format (Digital eXtreme Definition, 352.8 kHz/32bit) and, available in the Dolby Atmos format on streaming platforms. Also available on Vinyl.

Live performance in Tivoli Garden’s Concert Hall, Copenhagen, Denmark June 23th 2024 of SONG & WIND, composer Jakob Buchanan Aarhus Jazz Orchestra, Copenhagen Royal Chapel Choir, Marilyn Mazur, percussion, Jakob Buchanan, Flugelhorn and Carsten Seyer-Hansen, conductor. 00:00 Intro 00:40 Part l Prelude 05:16 Part l ”Songs in the Air” 13:06 Part l Postlude 18:23 Part ll The Stones Make Sand Slow 30:54 Part lll If You Want To Hurt Someone 39:48 Part lV You Have Only Seen How I Begin 50:05 Part V Rain Falls Ever since it quietly emerged on the international scene in the late ‘60s, Scandinavian jazz carved out for itself a distinctive niche. Drawing on the influence of Miles Davis and Gil Evans, Scandinavian jazz embraced a free, spacious, experimental, and contemplative aesthetic. It has also been open to modern or contemporary classical music and collaborations with European folk and ethnic-musicians. This is not OUR Recordings first journey into Scandinavian Jazz; the critically acclaimed album Going to Pieces Without Falling Apart, with legendary trumpeter Palle Mikkelborg, has proudly taken its place with other genre-defying Scandinavian jazz classics. Composer, trumpet and flugelhorn player Jakob Buchanan writes music specifically with the musicians he is working with in mind. Joining him on this important project are regular collaborators the Aarhus Jazz Orchestra, conductor Carsten Seyer-Hansen and percussionist Marilyn Mazur. Together they conjure landscapes of beauty, power and sometimes deep melancholy. Mazur’s panoply of percussion function as an emotional “basso continuo,” speaking a language built out of pure rhythm while Buchanan’s solos emerge almost like ancient cantilations from the choral/orchestral textures. The Aarhus Jazz Orchestra is carefully orchestrated, and the Copenhagen Royal Chapel Choir provides an aura of ethereal beauty to this soundscape song and wind. In every way, Buchanan’s Song & Wind is a worthy successor to his earlier award-winning Requiem, (also written with Marilyn Mazur and the Aarhus Jazz Orchestra in mind), a major work, expressive and full of beauty, drawing equally on the music of the past while charting a further course into the future.

First recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought to life of Rikke Sandberg and Kristoffer Hyldig When Danish composer Carl Nielsen finished his Third Symphony, he spoke of the first movement as “a gust of energy and life-affirmation blown out into the wide world” and called the finale of his Third Symphony “a hymn to work and the healthy activity of everyday life” – truly a sense of optimism all-too-rare for us denizens of the 21st century! So, why a four-hand arrangement of an orchestral score you ask? In the days before mechanical recordings, four hand arrangements were both a delightful social activity and an invaluable means of making large-scale works available to gifted amateurs who might not otherwise have opportunity to hear them in concert as well as promote them to conductors and concert programmers. As pianist Rikke Sandberg and Nielsen scholar Niels Bo Foltmann describe in the booklet notes, the discovery of the manuscript of Nielsen’s OWN arrangement “Sinfonia Espansiva” was itself a tale of luck and diligent librarianship. Also included on this all WORLD PREMIERE RECORDING album are 2 works from Nielsen’s Opera Saul & David, arranged by Nielsen for piano duet, and an oddity recently discovered in the archives of the Tivoli Amusement Park, the original four-handed sketch for the Højby Rifle Club March composed by Nielsens’ father, and arranged by Carl Nielsen/Kristoffer Hyldig. We hope that you will enjoy this first recording of Carl Nielsen’s own four-handed piano music arrangement of his orchestral works, brought brilliantly to life through the musicianship and scholarship of Rikke Sandberg and Kristoffer Hyldig. Recorded by Preben Iwan in the DXD audio format (Digital eXtreme Definition, 352.8 kHz/32bit) and, available in the Dolby Atmos format on streaming platforms. Also available on Vinyl.

From the recording in Endrupholm Manor House with ESBJERG ENSEMBLE and pianist Kristoffer Hyldig playing Chamber Music by Axel Borup-Jørgensen. INTRADA op. 149 - Christian Martinez, Percussion TRIO op. 134 – Ron Chen-Zion, clarinet - Pau Cordina, cello and Kristoffer Hyldig Piano RICONSTRUZIONI op.71 – Kerstin Thiele, flute - Ron Chen-Zion, clarinet – Niklas Kallsoy Mouritsen, horn – David Daniel Dinu, Oboe and Antti Salovaara, bassoon MALINCONIA op.68 - Joel Bardolet, violin - Bernat Prat Sabater, violin – Michel Camille, viola and Pau Cordina, cello RAPSODI op. 114:3 – Michel Camille, viola DISTICHON op. 67 – Tim Crawford, violin and Kristoffer Hyldig, piano

Jakob Buchanan’s SONG & WIND, featuring Aarhus Jazz Orchestra, Copenhagen Boys’ Choir, and percussionist Marilyn Mazur, produced by Preben Iwan and released by OUR Recordings last year, has been nominated for three Danish Music Awards (DMA AWARDS)! 1:Jazz Release of the Year: Jakob Buchanan, Aarhus Jazz Orchestra, Copenhagen Boys’ Choir & Marilyn Mazur. Song & Wind (OUR Recordings) 2:Musician of the Year: Marilyn Mazur for Song & Wind (OUR Recordings) 3:Jazz Composer of the Year: Jakob Buchanan for Song & Wind (OUR Recordings) This recognition is a fantastic honor for the artists and everyone involved, and we are incredibly proud to see this inspiring project receive such acclaim. The Award Show will take place in Store Vega in Copenhagen December 9.

LET THE CELLO TALK Nobody knows why Johann Sebastian Bach composed his six suites for solo cello. Nor does anybody know how it came about that the suites were soon afterwards consigned to oblivion and more than a century before a 13-year-old Spanish musical prodigy discovered a worn copy of the score in a second-hand bookstore store in Barcelona. For the next 11 years Pablo Casals practiced them every day. Finally, in 1936, he entered London’s Abbey Road studios to record the second and third suites for the first time. The rest, as they say, is history. Today, Bach’s cello suites have become a rite of passage for all aspiring cellists. For Henrik Dam Thomsen, solo cellist in Danish National Symphony Orchestra, the Bach cello suites are an integral part of his life, just as they are for all top-flight cellists. During the Covid shutdown, Henrik Dam Thomsen had the opportunity to immerse himself yet deeper into the Bach suites. ‘When one plays the suites, one is obliged to undertake many choices with regard to all the knowledge about Baroque music now available.’ Thomsen felt it was important to remain true to his own instrument and perform on his regular cello, a Francesco Ruggieri built in 1680, using modern strings, played with a conventional bow and tuned to the usual 442 Hz. These choices ensured the best homogeneity for the suites as a whole. The suites were recorded in the burnished acoustics of the Baroque Garnisons Church (Garnisons Kirke) in Copenhagen, beautifully captured in the immersive DXD format (352.8 kHz/24bit) by Mikkel Nymand. The digital release will be in Dolby Atmos.

LET THE CELLO TALK Nobody knows why Johann Sebastian Bach composed his six suites for solo cello. Nor does anybody know how it came about that the suites were soon afterwards consigned to oblivion and more than a century before a 13-year-old Spanish musical prodigy discovered a worn copy of the score in a second-hand bookstore store in Barcelona. For the next 11 years Pablo Casals practiced them every day. Finally, in 1936, he entered London’s Abbey Road studios to record the second and third suites for the first time. The rest, as they say, is history. Today, Bach’s cello suites have become a rite of passage for all aspiring cellists. For Henrik Dam Thomsen, solo cellist in Danish National Symphony Orchestra, the Bach cello suites are an integral part of his life, just as they are for all top-flight cellists. During the Covid shutdown, Henrik Dam Thomsen had the opportunity to immerse himself yet deeper into the Bach suites. ‘When one plays the suites, one is obliged to undertake many choices with regard to all the knowledge about Baroque music now available.’ Thomsen felt it was important to remain true to his own instrument and perform on his regular cello, a Francesco Ruggieri built in 1680, using modern strings, played with a conventional bow and tuned to the usual 442 Hz. These choices ensured the best homogeneity for the suites as a whole. The suites were recorded in the burnished acoustics of the Baroque Garnisons Church (Garnisons Kirke) in Copenhagen, beautifully captured in the immersive DXD format (352.8 kHz/24bit) by Mikkel Nymand. The digital release will be in Dolby Atmos.

LET THE CELLO TALK Nobody knows why Johann Sebastian Bach composed his six suites for solo cello. Nor does anybody know how it came about that the suites were soon afterwards consigned to oblivion and more than a century before a 13-year-old Spanish musical prodigy discovered a worn copy of the score in a second-hand bookstore store in Barcelona. For the next 11 years Pablo Casals practiced them every day. Finally, in 1936, he entered London’s Abbey Road studios to record the second and third suites for the first time. The rest, as they say, is history. Today, Bach’s cello suites have become a rite of passage for all aspiring cellists. For Henrik Dam Thomsen, solo cellist in Danish National Symphony Orchestra, the Bach cello suites are an integral part of his life, just as they are for all top-flight cellists. During the Covid shutdown, Henrik Dam Thomsen had the opportunity to immerse himself yet deeper into the Bach suites. ‘When one plays the suites, one is obliged to undertake many choices with regard to all the knowledge about Baroque music now available.’ Thomsen felt it was important to remain true to his own instrument and perform on his regular cello, a Francesco Ruggieri built in 1680, using modern strings, played with a conventional bow and tuned to the usual 442 Hz. These choices ensured the best homogeneity for the suites as a whole. The suites were recorded in the burnished acoustics of the Baroque Garnisons Church (Garnisons Kirke) in Copenhagen, beautifully captured in the immersive DXD format (352.8 kHz/24bit) by Mikkel Nymand. The digital release will be in Dolby Atmos.

LET THE CELLO TALK Nobody knows why Johann Sebastian Bach composed his six suites for solo cello. Nor does anybody know how it came about that the suites were soon afterwards consigned to oblivion and more than a century before a 13-year-old Spanish musical prodigy discovered a worn copy of the score in a second-hand bookstore store in Barcelona. For the next 11 years Pablo Casals practiced them every day. Finally, in 1936, he entered London’s Abbey Road studios to record the second and third suites for the first time. The rest, as they say, is history. Today, Bach’s cello suites have become a rite of passage for all aspiring cellists. For Henrik Dam Thomsen, solo cellist in Danish National Symphony Orchestra, the Bach cello suites are an integral part of his life, just as they are for all top-flight cellists. During the Covid shutdown, Henrik Dam Thomsen had the opportunity to immerse himself yet deeper into the Bach suites. ‘When one plays the suites, one is obliged to undertake many choices with regard to all the knowledge about Baroque music now available.’ Thomsen felt it was important to remain true to his own instrument and perform on his regular cello, a Francesco Ruggieri built in 1680, using modern strings, played with a conventional bow and tuned to the usual 442 Hz. These choices ensured the best homogeneity for the suites as a whole. The suites were recorded in the burnished acoustics of the Baroque Garnisons Church (Garnisons Kirke) in Copenhagen, beautifully captured in the immersive DXD format (352.8 kHz/24bit) by Mikkel Nymand. The digital release will be in Dolby Atmos.

LET THE CELLO TALK Nobody knows why Johann Sebastian Bach composed his six suites for solo cello. Nor does anybody know how it came about that the suites were soon afterwards consigned to oblivion and more than a century before a 13-year-old Spanish musical prodigy discovered a worn copy of the score in a second-hand bookstore store in Barcelona. For the next 11 years Pablo Casals practiced them every day. Finally, in 1936, he entered London’s Abbey Road studios to record the second and third suites for the first time. The rest, as they say, is history. Today, Bach’s cello suites have become a rite of passage for all aspiring cellists. For Henrik Dam Thomsen, solo cellist in Danish National Symphony Orchestra, the Bach cello suites are an integral part of his life, just as they are for all top-flight cellists. During the Covid shutdown, Henrik Dam Thomsen had the opportunity to immerse himself yet deeper into the Bach suites. ‘When one plays the suites, one is obliged to undertake many choices with regard to all the knowledge about Baroque music now available.’ Thomsen felt it was important to remain true to his own instrument and perform on his regular cello, a Francesco Ruggieri built in 1680, using modern strings, played with a conventional bow and tuned to the usual 442 Hz. These choices ensured the best homogeneity for the suites as a whole. The suites were recorded in the burnished acoustics of the Baroque Garnisons Church (Garnisons Kirke) in Copenhagen, beautifully captured in the immersive DXD format (352.8 kHz/24bit) by Mikkel Nymand. The digital release will be in Dolby Atmos.

LET THE CELLO TALK Nobody knows why Johann Sebastian Bach composed his six suites for solo cello. Nor does anybody know how it came about that the suites were soon afterwards consigned to oblivion and more than a century before a 13-year-old Spanish musical prodigy discovered a worn copy of the score in a second-hand bookstore store in Barcelona. For the next 11 years Pablo Casals practiced them every day. Finally, in 1936, he entered London’s Abbey Road studios to record the second and third suites for the first time. The rest, as they say, is history. Today, Bach’s cello suites have become a rite of passage for all aspiring cellists. For Henrik Dam Thomsen, solo cellist in Danish National Symphony Orchestra, the Bach cello suites are an integral part of his life, just as they are for all top-flight cellists. During the Covid shutdown, Henrik Dam Thomsen had the opportunity to immerse himself yet deeper into the Bach suites. ‘When one plays the suites, one is obliged to undertake many choices with regard to all the knowledge about Baroque music now available.’ Thomsen felt it was important to remain true to his own instrument and perform on his regular cello, a Francesco Ruggieri built in 1680, using modern strings, played with a conventional bow and tuned to the usual 442 Hz. These choices ensured the best homogeneity for the suites as a whole. The suites were recorded in the burnished acoustics of the Baroque Garnisons Church (Garnisons Kirke) in Copenhagen, beautifully captured in the immersive DXD format (352.8 kHz/24bit) by Mikkel Nymand. The digital release will be in Dolby Atmos.

Part of J.S.Bach Sarabande: Immerse yourself in the timeless beauty of Johann Sebastian Bach's "Sarabande" from Suite No. 2 in D Minor BWV 1008, exquisitely performed by renowned cellist Henrik Dam Thomsen. This captivating piece, known for its elegant simplicity and emotional depth, is a highlight of Thomsen's recording of Bach's complete Cello Suites, available on the album J.S. Bach: "Six Suites for Cello Solo" from OUR Recordings. This video trailer is recorded in one of the most remarkable newer churches in Denmark, Grundtvig's Church, created by the architect Kaare Klint in memory of the founder of Danish democracy N.F.S. Grundtvig. The album is recorded in the acoustically stunning Garnisons Church in Copenhagen by producer Mikkel Nymand in the DXD format, Thomsen brings a fresh and authentic interpretation to this Baroque masterpiece, using his 1680 Francesco Ruggieri cello. Discover how Bach's genius in dance rhythms transcends time, touching the soul with every note. About the full album: https://www.ourrecordings.com/albums/j.-s.-bach #Bach #Sarabande #Cello #ClassicalMusic #HenrikDamThomsen #OURRecordings #BaroqueMusic

The film producer Nikolaj Lund followed the recording of the album, which took place in the Queen's Hall at the Black Diamond in Copenhagen. In the video Rikke and Kristoffer talk about the music, and there are clips and music from the recording. You will also see the music playing on a surprising location. Nikolaj also generously gives us an impression of the beautiful Copenhagen around the Black Diamond. With english subtitles.

When Danish composer Carl Nielsen finished his Third Symphony, he spoke of the first movement as "a gust of energy and life-affirmation blown out into the wide world," and called the finale of his Third Symphony "a hymn to work and the healthy activity of everyday life," truly a sense of optimism all-too-rare for us denizens of the 21st century! So, why a four-hand arrangement of an orchestral score you ask? In the days before mechanical recordings, four hand arrangements were both a delightful social activity and an invaluable means of making large-scale works available to gifted amateurs who might not otherwise have opportunity to hear them in concert as well as promote them to conductors and concert programmers. As pianist Rikke Sandberg and Nielsen scholar Niels Bo Foltmann describe in the booklet notes, the discovery of the manuscript of Nielsen’s OWN arrangement "Sinfonia Espansiva” was itself a tale of luck and diligent librarianship. Also included on this all WORLD PREMIERE RECORDING are 2 works from Nielsen’s Opera Saul & David arranged by Nielsen for piano duet, and another oddity recently discovered in the archives of the Tivoli Amusement Park, the original four-handed sketch for the Højby Rifle Club March composed by Nielsens’ father, and arranged by Carl Nielsen. We hope that you will enjoy this first recording of Carl Nielsen’s own four-handed piano arrangement of his orchestral works, brought brilliantly to life through the musicianship and scholarship of Rikke Sandberg and Kristoffer Hyldig.

The Danish cello virtuoso Henrik Dam Thomsen, who is the solo cellist in the Danish National Symphony Orchestra, has completed a very strong and personal recording of J.S. Bach's iconic Six Suites for Cello solo. The recording was made in Copenhagen at Garnisons Kirke's fantastic acoustics, with Mikkel Nymand as producer/technician, and recorded in the DXD format (352.8kHz/24bit) and will be available on streaming services as Dolby Atmos. This double album will be released worldwide on August 23rd. #shorts #cello #bach #classicalmusic #music #musician

Ghita Nørby læser Hans Christian Andersen's "Sommerfuglen" med Randers Kammerorkester som spiller Frederik Rung.

IGOR STRAVINSKY (1882-1971) Three Pieces for Clarinet Solo (1919) Tid 11.18-15.40 fra Moderne tirsdage fuld Jonas Frølund, clarinet, live in the Concert Church, Nørrebro, Copenhagen in the concert series Modern Mondays.

CARL NIELSEN (1865-1931) Cadenza from Clarinet Concerto (1928) Jonas Frølund, clarinet, live in the Concert Church, Nørrebro, Copenhagen in the concert series Modern Mondays.

The organ has been regarded as an orchestra from its earliest beginnings, and over the years many composers have transposed vocal and orchestral works for the instrument. In the 19th and early 20th centuries we find many interesting examples of organ transcriptions, such as Max Reger’s organ arrangements of the piano parts in a number of Hugo Wolff’s songs. Sigfrid Karg-Elert arranged a number of passages from Wagner’s operas for harmonium, while Charles-Marie Widor gave several Bach movements a loving organ treatment in the collection “Bach’s Memento”, demonstrating the ability of composers and other musicians to be inspired by the compositions of other masters and to “re-compose” them for their own instrument. These transcriptions and adaptations were all made at a time when music could only be experienced by hearing it in live performance. In the case of the orchestral pieces, in particular, very few people would have had the opportunity to hear all these marvellous works. Orchestral concerts were rare and costly, which is one of the reasons why orchestral works were transcribed for piano and organ. The piano transcriptions could be played at home, while the organ transcriptions could be played in churches and concert halls where organs were available. Several of the great concert hall organs of the 19th and 20th centuries were thus directly justified by the fact that they could play the orchestral repertoire when an orchestra could not be afforded. Today, we can all listen to good recordings of the great classical works, but a real concert with real musicians is still something special. That is why it still makes sense to perform selected works in transcription for smaller ensembles, so that many more can have the opportunity to experience the music in real concerts. The moreintimate and transparent expressionof the transcriptions also emphasises different nuances andelements of the music, by comparison with the original versions. As part of my work with artistic research at The Royal Danish Academy of Music, I have had the opportunity to take a closer look at organ transcriptions and the use of the organ as an orchestral substitute, both from a historical and a practical perspective. This work has resulted, amongst other things, in an elaborate practical transcription of Richard Strauss’ Vier letzte Lieder for soprano, violin and organ, as well as Ernest Chausson’s Poème for violin and organ. As a further development of this work, I have taken a stylistic leap and worked out a number of organ transcriptions of symphonic rock classics from the 1960s and 1970s. The background to this has been a long-standing musical collaboration with my good friend the violinist Jochen Brusch, with whom I have for a number of years played adaptations of rock classics on our classical instruments, violin and organ, in recognition of the fact that we like to play good music that we care about – irrespective of style, as long as it is good music! But the organ is such a large and versatile instrument that it can also cope with the task alone. The symphonic rock music of the 1960s and 1970s largely drew its inspiration from classical music, and in particular from the composer Johann Sebastian Bach, sometimes using direct Bach quotations, at other times simply using musical phrases that are reminiscent of “old Bach”. It is therefore interesting to examine what happens when you add even more Bach, and play symphonic rock classics on a classical instrument: the organ. In these arrangements, the connection between Bach and Rock is underlined by a direct interweaving of rock music with quotations from Johann Sebastian Bach, with the result that the music flows together in a patchwork of baroque organ, Bach and symphonic rock “STAIRWAY to BACH – Rock classics with a hint of Bach”. The programme will be presented on the large Marcussen organ in the Concert Hall of The Royal Danish Academy of Music.

The ripple effects of the war in Ukraine are extending human suffering far beyond its borders, exacerbating a global crisis unseen in at least a generation. Morten Jessen began composing KYIV shortly after war began, inspired by the courage and strength of Kyiv's defenders. While he was composing his piece, he corespondent with the Ukrainian priest Viktor Marynchak who held services in the darkness of the Kharkiv subway during Russias' six-month siege of the city. The Ukrainian violinist Natalia Gordeyeva learned of Jessen’s composition and felt her own story reflected in the music and contacted the composer. Since then, the two have collaborated closely on a series of charity concerts for Ukraine, performing at venues such as the National Museum in Copenhagen, Elsinore Cathedral, Radio and Television in Denmark, - and for the Danish Prime minister, Parliament and the Danish King Frederik X and Queen Mary. The piece is also scheduled to be performed in Ukraine on a Tour in Ukraine in May, including concerts in Kyiv Philharmonic and Lviv Philharmonic Hall. Morten Jessen is a composer, multi-instrumentalist, founder of the Nordic Church Ensemble and organist at Høsterkøb Church in North Zealand. Throughout his works he has explored the effect of sacred spaces on musical sound and many of his works strive to create a dreamy and timeless expression. Born in Kyiv, violinist Natalia Gordeyeva performed her first solo recital at the age of 7. At the age of 10 she performed as a soloist with the Kyiv Camerata chamber orchestra. She would continue her meteoric rise becoming an in-demand soloist and chamber partner, and later, teacher of her own academy. Following the Invasion of Ukraine, she evacuated to Denmark and committed herself to promoting Ukrainian culture in Europe. She was quickly re-established as a brilliant musician and performed at the numerous Ukraine-supporting events and charity concerts.

Video by : Klavs Kehlet Hansen Sound Producer: Mette Due Exceptional cello/piano duo music from 1911-1918 by 4 female composers "Upheaval" is an exceptional project in several aspects. First, it presents four compositions for cello and piano written by female composers from the first part of the 20th century, challenging the cultural norms of the day and secondly, the title, "Upheaval," also refers to the tumultuous period around the First World War. The works featured on this recording are Henrietta Bosmans' Sonata for Cello and Piano (1919), Dora Pejačević's Sonata for Cello and Piano (1913), Nadia Boulanger's Trois pièces (1914), and Lili Boulanger's Nocturne (1911), were all written over an eight-year period in France, the Netherlands, and Croatia. Henriëtte Bosmans was one of Holland's greatest pianists, and a composer of great distinction as her sweeping, early Cello Sonata proves. Countess Maria Theodora Paulina (Dora) Pejačević is rightfully considered the matriarch of Croatian composers. Her Cello Sonata, Opus 35 embodies late romanticism, with influences of Mendelssohn, Brahms and Dvorak particularly evident. The program concludes with works from two amazing sisters: Nadia (1887–1979) and Lili Boulanger (1893–1918). Both were pioneers in their fields (Lili was the First Woman to win the coveted Prix de Rome, and Nadia, for teaching about every major post-war composer) and were for many years, two of the best-known women in music in the twentieth century. The artists, the husband-and-wife cello/piano duo of Janne Fredens (cello) and Søren Rastogi (piano) approach this program with a sense of profound commitment and mission, recognizing that there performances of such unfamiliar repertoire may well serve as a benchmark for future artists. Both are active soloists and artistic directors of Odsherred Chamber Music Festival. The chosen instrument for the recording is the Bechstein Concert Grand, to match the beautiful tone of Janne´s cello, and to give an impression of the periods piano sound. This is a highly recommended recording for fans of unfamiliar chamber music, advocates for women composers and those who just love to hear glorious music played by great musicians with passion and commitment.

Recorded live in Vor Frelsers Church, Copenhagen March 18.-2021. 00:00 l. Regard du Père (Gaze of the Father) 8:20 II. Regard de l’étoile (Gaze of the Star) 11:34 III. L’échange (The Exchange) 15:15 IV. Regard de la Vierge (Gaze of the Virgin) 20:57 V. Regard du Fils sur le Fils (Gaze of the Son on the Son) 28:58 VI. Par Lui tout a été fait (Through Him All Things Were Created) 40:40 VII. Regard de la Croix (Gaze of the Cross) 45:15 VIII. Regard des hauteurs (Gaze of the Heights) 49:46 IX. Regard du temps (Gaze of Time) 50:42 X. Regard de l’Esprit de joie (Gaze of the Joyous Spirit) 1:00:10 XI. Première communion de la Vierge (The First Communion of the Virgin) 1:08:56 XII. La parole toute puissante (The Almighty Word) 1:11:14 XIII. Noël (Christmas) 1:15:39 XIV. Regard des Anges (Gaze of the Angels) 1:20:36 XV. Le baiser de l’Enfant-Jésus (The Kiss of the Child Jesus) 1:33:04 XVI. Regard des prophètes, des bergers et des Mages(Gaze of the Prophet, the Shepherds and the Wise) 1:36:30 XVII. Regard du silence (Gaze of Silence) 1:43:00 XVIII. Regard de l’Onction terrible (Gaze of the Terrible Anointing) 1:49:50 XIX. Je dors, mais mon coeur veille (I sleep, but my Heart is awake) 2:00:55 XX. Regard de l’Eglise d’amour (Gaze of the Church of Love) Video: Klaus Kehlet Sound: Preben Iwan Steinway & Sons Grand Piano model D-274 sponsored by Juhl-Sørensen A/S Released on www.ourrecordings.com SACD catalogue number 6.220677 and 78

In this video, we delve into the enchanting world of Hugo Distler's Christmas narrative, a hidden gem of sacred music. Conductor Carsten Seyer-Hansen, along with the remarkable Vocal Group Concert Clemens, takes us on a musical journey through this extraordinary composition. Hugo Distler, born in Nuremberg in 1908, was not only a talented composer but also a devoted teacher of church music. His deep religious convictions led him to create music that would later become a precursor to the New German Church Music movement of the 1930s. However, during the Nazi regime, his compositions were unfairly labeled as "degenerate art." When he received conscription papers, he tragically took his own life. To this day, Distler's music remains relatively undiscovered outside of Germany, despite its profound beauty and significance. Carsten Seyer-Hansen, the conductor extraordinaire, founded the award-winning vocal ensemble Concert Clemens in 1997. With 16 voices that have been praised for their pure and natural eloquence, this ensemble has become a leading force in Scandinavia's choral scene. Their versatility shines through in their diverse collaborations, exploring the harmonious intersection between jazz and classical music while delivering note-perfect interpretations of standard repertoire. One of Denmark's finest tenors, Adam Riis, takes on the role of the evangelist, lending his captivating voice to this musical journey. Recorded in the DXD format by the Danish "Wizard of Sound," Preben Iwan, the resonant acoustics of Skt. Markus Kirken in Århus provide the perfect backdrop for this mesmerizing performance. Throughout the narrative, you'll also hear the hauntingly beautiful choral "Es ist ein Ros entsprungen," which weaves its way through the story in ever-evolving harmonic colors. Join us as we explore the musical legacy of Hugo Distler and experience the magic of Concert Clemens, conducted by the talented Carsten Seyer-Hansen, in this enchanting Christmas narrative. Don't forget to like, subscribe, and share this video to spread the joy and knowledge of this remarkable musical journey!

Recorder, Michala Petri - Viola da gamba, Hille Perl - Harpsichord, Mahan Esfahani

Recorder, Michala Petri - viola da gamba, Hille Perl - harpsichord, Mahan Esfahani