MARIN is a unique project. An animated movie created as a visual complement for the sounds in Axel Borup-Jørgensens huge symphonic work Marin, op.60, composed from1963 to1970. Marin is considered to be one of the most significant Danish works of its time. The symphonic poem Marin uses the ocean as a subject of interpretation. The animation puts the work into a visual frame, providing a base for the eyes and mind, while experiencing the sound universe. This is a rare approach to symphonic works, building bridges between the audio and visual sensory system, and opening up new ways of experiencing the strong and astounding universe of Axel Borup-Jørgensen. The animation takes us to an underwater universe, inhabited by creatures called marenes, with whom we explore the auditory and visual world of MARIN. The movie, filled with symbols of the forces in human subconsciousness, is without a narrative, allowing the listener to experience the immediate sensations and the texture of the music rather than the timely development of the animation and the music. Many of the figures in the film are based on and inspired by Axel Borup-Jørgensen’s own drawings and figures. The premiere of Marin in 1970 with Danish National Symphony Orchestra was conducted by Herbert Blomstedt and the work was awarded the International Rostrum of Composers prize in Paris in 1970. Now, on the occasion of the MARIN animation film project, the music has been re-recorded by Danish National Symphony Orchestra, conducted by Thomas Søndergård, in the DR Concert Hall, produced by Preben Iwan and Mikkel Nymand. The recording is made in DXD format (352.8kHz/32 bit), the highest possible quality for digital audio, acommodating the richness in detail that characterizes the work of Axel Borup-Jørgensen and creating a sound experience out of the ordinary. It’s like stepping into water for the first time. Soft, dry skin hesitantly meets the wet substance; a new state for the body, that has only ever known the feeling of being surrounded by light air. An eerie feeling, like the one that exists until the eyes get accustomed to the dark and the body understands the caressing of water surrounding it. A self protecting feeling of precaution. But the pupil expands and the body adapts to this new element, allowing one to navigate in the dark waters. And just like that, a new form of consciousness starts to grow. An awareness of the little things as a part of the greater whole, but also as valuable, individual components themselves worthy of attention. Listening to Marin introduces thoughts and emotions like this. The work is impressive, massive in its reach and at the same time so minimal and precise in its expression. One gains a deep respect for the importance of silence, as the absence of sound creates a longing for the instruments to finally play their part. This desire is met with waves of sound washing over the listener, quenching the thirst. The music recedes as suddenly as it appears, but always leaves behind a promise of the next variation, like the balance and dynamic between ebb and flood. It becomes a physical experience. The composition initiates pictures in the mind, but the recording itself is also sensible and affects the body throughout the listening. The crispness and clarity of the instruments is an auditory rarity in the recorded format and adds a new perspective to the work that is Marin. As the piece leaves open spaces for single standing elements, the texture of each instrument is highlighted, allowing the richness in detail to sharply cut through in the soundscape. This is heard in the flutes and the strings suddenly trickling and washing over everything, like the smallest drops of water escaping the biggest wave as it breaks and transforms to once again unite with the ocean that birthed it. It’s in the pulse of the percussion section, rising from its deep, reminding one of the many areas of the ocean never explored yet always present and alive. A slow drone pulsating like a heart, not necessarily leading towards a final climax, but rather embracing the constant variation and maintaining the ground for coming affairs. It’s about letting go and giving in. Just like a reed in a storm, bending is the key to not breaking. And so, listening to Marin is a form of practicing consideration and presence, of finding meaning in each moment and bravely entering the highly personal, yet seemingly universal experience that is Axel Borup-Jørgensen’s Marin.

The Danish composer Axel Borup-Jørgensen (1924-2012) was one of the 20th century’s great “silent individualists.” Although largely self-taught, he was the first Danish composer who attended the Darmstadt Summer Courses for New Music. Without a doubt, the avant-garde of the sixties exerted a strong influence on Borup-Jørgensen’s sound world, but he never embraced any specific “ism,” following instead his own intuition and his extraordinary sense of organizing sound. Borup-Jørgensen’s handwritten scores are of almost calligraphic quality and beauty and reveal him to be a meticulous craftsman and magician of tone color, traits on full display on this very special tribute in honor of the composer’s centenary.The vast majority of his work is devoted to chamber music. Here he enjoyed the freedom and inspiration to work closely with the artists and explore new sonic possibilities of their instruments. This album is the final entry in a decade long documentation of the life and work of Axel Borup-Jørgensen’s music, a project that has seen multiple critical triumphs, innovative concert installations and even an award-winning video. The animated short film for his masterpiece MARIN won OPUS Klassik AWARD as best DVD/BLUE RAY as well as the Danish Radio P2 Prize for Best ALBUM. On the film you will hear composers like Per Nørgård, Pelle Gudmundsen Holmgreen, Ib Nørholm, Bent Sørensen, Sunleif Rasmussen and Finn Savery, musicians Michala Petri, Gert Mortensen, Lars Hannibal and his daughter Elisbet Selin, conductor Thomas Søndergård and producer Preben Iwan talk about Axel. You will also hear alot of LIVE MUSIC: ENJOY! Spared the horrors and destruction of the war on the continent, the musical situation in post-war Denmark was still very much a work-in-progress with composers struggling to find their own contemporary voices reconciling “Danishness” with modernity. The greatest challenge facing Danish composers even at this late date was neither the powerful influence of continental avant-garde nor the colorful nationalism of their Scandinavian neighbors but rather the overpowering legacy of their own great national composer, Carl Nielsen. During this period the prolific composers Vagn Holmboe (1909-1996) and Niels Viggo Bentzon (1919-2000) emerged as the leaders whose individual theories of composition would assume distinctive and influential roles. Among Holmboe’s students were Per Nørgård (1932-), Ib Nørholm (1931-2019) and Pelle Gudmundsen-Holmgreen (1932-2016), who together with Axel Borup-Jørgensen would shape contemporary Danish music in the years after 1950, each charting an individual path through modernity. The cultural milieu at this time embraced the musical aesthetics of the German philosopher Thomas Adorno, epitomized in the works of composers like Pierre Boulez and Karlheinz Stockhausen. In response to the atrocities of the war, composers sought intellectual refuge in varieties of revolutionary programs of artistic and social change to completely reshape music. For the most part, the legendary Darmstädter Ferienkurse (“Darmstadt Summer Course”) and its influence were but a brief distraction for most Danish composers, who after writing a couple of serial works were off on their own more personal explorations. It was during this period of exploration and experimentation that Axel Borup-Jørgensen began his own musical journey, creating an intensely personal music carefully etched upon the surface of silence with inspiration from modern Swedish poetry and the Swedish landscape. Born on November 22.1924, in Hjørring, Denmark, Axel Borup-Jørgensen was by any definition, a unique figure in Danish music. Whereas many Danish composers dabbled in the continental avant-garde to later depart, Borup-Jørgensen was one of the few who remained faithful to the modernist ideal throughout his career, never looking back neither in nostalgia nor irony. Yet, there is an organic lyricism in his music, a unique “Scandinavian” sensibility, and intuitive quality to his works that sets it apart from that of more rigorous adherents of the Post-Webern School. When Axel was 2 1⁄2 years old, his family moved to Sweden, eventually settling in Mjölby, located about 230 kms south of Stockholm. In 1942 the family acquired the small island of Björkö in Lake Sommen on the border between Östergötland and Småland.As a child, Axel displayed an early interest in both music and art and taught himself to play a number of instruments including accordion, mandolin and piano and often performed with his school mates. He also had a natural gift as a draughtsman, a talent he carried into adulthood and in full evidence in his intricate and beautiful, calligraphic scores. By Joshua Cheek

Michala Petri play Sunleif Rasmussen: Variations on Sorrig og Glæde for recorder solo (Dedicated Michala Petri) Live recorded in Garnisonskirken, Copenhagen October 3th 2017

Michala Petri and Concerto Copenhagen conducted by Lars Ulrik Mortensen, harpsichord plays Guiseppe Sammartini: Concerto for recorder and strings in F-Major. Live recorded in Garnisonskirken, Copenhagen October 3th 2017

Markus Zahnhausen, (b.1965) Recordare Concerto da Requiem (2015) (Dedicated Michala Petri and commisioned by Elisabet Selin,- Edition Borup-Jørgensen) Michala Petri, Recorder Ålborg Symphony Orchestra conducted by Mikhail Agrest (de 3 satser) Grave – Vivace – Grave Arioso – Energico – Arioso Come prima – Poco più fluente – Poco meno mosso Live recorded in Musikkens Hus in Ålborg February the 14th 2019, in connection to the Danish Music Award Celebration Event, where Michala Petri was appointed Artist of the Year 2019 at the Danish National Classical Radio DR/P2. AND Interview with composer Markus Zahnhausen on his recorder Concerto Recordare Concerto daR P2 Logo)Requiem, February the 14th 2019. Video filmed by Klavs Kehlet Hansen www.kehletvideo.dk

Jacob van Eyck: (1590-1667) Variations on Wat zal men op den avond doen. Live recorded in Musikkens Hus in Ålborg February the 14th 2019, in connection to the Danish Music Award Celebration Event, where Michala Petri was appointed Artist of the Year 2019 at the Danish National Classical Radio DR/P2. Video filmed by Klavs Kehlet Hansen www.kehletvideo.dk

Michala Petri talks about her recorders in connection to thenew recording of Bach´s 6 Flute Sonatas with Mahan Esfahani and Hille Perl. Music: Sonata F Major BWV 1035 J.S. Bach: 6 Sonatas for recorder, harpsichord and viola da gamba BWV 1030 - 1035 Product # 6.220673 UPC 747313167364

Olivier Messiaen: Vingt Regards: IX. Regard du temps (Gaze of Time) from Vingts Regard sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Mystère de la plénitude des temps; le temps voit naître en lui Celui gui est éternal… (The mystery of the infinitude of time; Time sees born in itself the One who is eternal… ) 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 Gloire dans les hauteurs … les hauteurs descendent sur la crèche comme un chant d’alouette … (Glory in the heights… the heights descend to the manger like the song of the lark… 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 La Croix lui dit : tu seras prêtre dans mes bras … (Theme of the stars and the cross. The cross speaks to him: you will be priest in my arms…) 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 Foisonnement des espaces et durées ; galaxies, photons, spirales contraires, foudres inverses ; par « lui » (le Verbe) tout a été fait … à un moment, la création nous ouvre l’ombre lumineuse de sa Voix … (…through “him” (the word) everything was created… creation the shining shadows of his voice… A fugue in which the theme never returns in the same form) 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

Olivier Messiaen: Vingt Regards: XI. Première communion de la Vierge (The First Communion of the Virgin)from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021 Après l’Annonciation, Marie adore Jésus en elle … mon Dieu, mon fils, mon Magnificat ! – mon amour sans bruit de paroles … (After the annunciation, Mary adores Jesus within her interior…my God, my Son, my Magnificat! – my love without the sound of words…) 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

Olivier Messiaen: Vingt Regards: XII. La parole toute puissante (The Almighty Word) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Cet enfant est le Verbe qui soutient toutes choses par la puissance de sa parole … (This child is the word that sustains everything through the power of His voice…) 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

Olivier Messiaen: Vingt Regards: III. Noël (Christmas) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Les cloches de Noël disent avec nous les doux noms de Jésus, Marie, Joseph … (Christmas bells speak to us the gentle names of Jesus, Mary, Joseph.) 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

Olivier Messiaen: Vingt Regards: XVIII. Regard de l’Onction terrible (Gaze of the Terrible Anointing) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021 Le Verbe assume une certaine nature humaine ; choix de la chair de Jésus par la Majesté épouvantable … (The word takes on a definite human form; the choice of the Flesh of Jesus by the awesome Majesty of God…) 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

Mette (b.1985) Alone for basset clarinet (2021; written for Jonas Frølund; world premiere recording

En stor ære at få tildelt Axel Borup-Jørgensens Komponistpris. Rekleksion er skrvet of navnene AXEL og ELISABET.

Regarded today as the embodiment of classical music atits 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 more frequently played and programmed. 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 atits 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 composersit 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.” 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 earningmore 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.

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 otherselections 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 catalogueof 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. 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! On the video from the recording, ‒ you will hear the Danish National Vocal Ensemble’s artistic director Michael Emery, conductor Martina Batič and soprano Anna Miilmann talk about the music. Technician Mikkel Nymand talk about the new way of recording a Choir, special for Dolby Atmos.

Throughout his life as a composer, Axel Borup-Jørgensen focused particularly on the recorder in a wide range of works, spanning from *Spil for 7* (1963) to *Pergolato* (2011). These works all explore the instrument’s potential and expressive capabilities. For this reason, *Pergolato*—Borup-Jørgensen's final composition—features in the concert program alongside *Sonatine* for two violins and *Lille Serenade,* which is Borup-Jørgensen's first work. While *Pergolato* can be seen as a culmination and synthesis of Borup-Jørgensen's entire career as a composer, the two other works in the program illustrate how he explored and experimented in his early efforts to discover his personal style and unique voice. With these three pieces, listeners are brought close to the instruments and their expressive possibilities, as Borup-Jørgensen envisioned them.

A cross-aesthetic luxury double album of the longest solo work in guitar literature 0:00 Intro 0:06 Platero 3:10 Angelus 7:12 Retorno 11:28 La Primavera 13:16 El Pozo 16:14 Gorriones 19:31 Melancolía 23:40 Amistad 26:03 La Luna 28:07 Juegos del Anochecer 31:26 Ronsard 34:30 El Loco 36:49 La Tísica 40:00 Nostalgia 43:53 Mariposas Blancas 45:28 Idilio de Abril 48:32 El Canario Vuela 52:23 La Arrulladora 56:45 El Canario se Muere (Mangler sidste akkord) 1:02:03 Idilio de Noviembre 1:06:11 La Muerte 1:09:50 Convalecencia 1:13:52 Golondrinas 1:17:26 La Flor del Camino 1:20:52 Domingo 1:23:27 Los Gitanos 1:26:56 Carnaval 1:31:08 A Platero en el Cielo de Moguer 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 po-etic sketches of the same name, the composer gave his permissionfor 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. P E R S O N A L N O T E S B Y N I K L A S J O H A N S E N My journey through the vast collection “Platero y Yo” has been a fantastic privilege. The work possesses a truly rare poetic depth. After immersing myself in all 28 pieces, I’ve experienced every corner of the emotional spectrum, as well as the many timbres and expressions of the guitar, always colored by Tedesco’s distinctive character and tonal language. It has been unique to experience how my approach to the work has consistently been shaped by the music’s close relationship with Jiménez’s deep poetry, like when one can hear everything from the wind in the treetops in “La Arrulladora” to the shrill clatter of the birds in “La Primavera”. The poems have shaped my relationship with the music, and the music, in turn, has shaped my relationship with the poems. Part of the preparation has taken place in Spain, not far from Jiménez’s hometown of Moguer, and my interest in the Spanish language has also led me to read the poems in Spanish. The close relationship with the language and culture has contributed to making this album something special for me. In working with the music, I have sought guidance from Paolo Pegoraro, Judicäel Perroy, and Jørgen Bjørslev. I would like to extend my heartfelt thanks to all three for their contribution to my understanding of the music. I would also like to thank my two main teachers during my studies, Jesper Sivebæk and Ricardo Gallén. And last but not least, I want to thank Lars Hannibal for bringing this work’s beauty to my attention and for initiating the project. www.ourrecordings.com

Carl Nielsen’s Clarinet Concerto – conducted by Adam Fischer with the Danish Chamber Orchestra.

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.

A short, lovely welcome video with Malin Broman, who briefly talks about Helen Grime’s Violin Concerto

Jonas Frølund performed this powerful and atmospheric short piece, At tænde Lys (To Light a Candle) by Per Nørgård, written for Palle Mikkelborg, as an encore after Carl Nielsen’s Clarinet Concerto. The concert took place in Tivoli Concert Hall on July 5, 2025, in connection with Denmark’s assumption of the presidency of the EU. Per Nørgård composed the work in 2006 for an event organized by Amnesty International.

"Drømmen om Glade Jul" is an atmospheric work that revolves around the well-known Christmas hymn “Silent Night” seen through Carl Nielsen’s distinctive musical perspective. Rather than presenting the melody directly, Nielsen treats it as a memory or dream image, where the mood is more suggestive than solemnly festive. The music has a calm and contemplative character, creating a sense of inner peace and warmth rather than outward jubilation. The harmony moves freely and with subtle nuance, giving the work a gently melancholic and deeply human tone, one of the hallmarks of Carl Nielsen’s style. Christmas is portrayed not only as tradition and celebration, but also as something personal and vulnerable. The piece can be experienced as a musical reflection on the meaning of Christmas: memories, hope, and a longing for peace. In this way, Drømmen om Glade Jul unites the familiarly recognizable with artistic depth, offering a more inward-looking interpretation of the Christmas message. "Drømmen om Glade Jul" er et stemningsfuldt værk, der kredser om den velkendte julesalme “Glade jul, dejlige jul”, men set gennem Carl Nielsens karakteristiske musikalske blik. I stedet for blot at præsentere melodien direkte, arbejder Nielsen med den som et erindrings- eller drømmebillede, hvor stemningen er mere antydende end højtideligt festlig. Musikken har et roligt og eftertænksomt præg, og der skabes en følelse af indre fred og varme snarere end ydre jubel. Harmonikken bevæger sig frit og nuanceret, hvilket giver værket en let melankolsk og menneskelig tone, et kendetegn for Carl Nielsens stil. Julen fremstilles ikke kun som tradition og højtid, men også som noget personligt og sårbart. Værket kan opleves som en musikalsk refleksion over julens betydning: minder, håb og længsel efter fred. På den måde forener "Drømmen om Glade Jul" det folkeligt genkendelige med det kunstnerisk fordybede og giver en mere indadvendt fortolkning af julebudskabet.

In connection with the Carl Nielsen and Anne Marie Carl-Nielsen Grant, videographer Birgit Tengberg created this wonderful video featuring Michala Petri. The great Danish actress Susse Wold wrote after she had seen the film: “The loveliest and wisest artist I know.”

In Denmark we have a tradition with candlelights on a cake when you celebrate Birthsdays,- and this tradition we love,- and want to share with you.

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