On his new double vinyl album, Jakob Buchanan masterfully blends the ultra-local folk music and the unique character of the landscape, with some of the world’s leading names in modern jazz, and one of Denmark’s many great string quartets Artos Quartet. A few years ago, jazz composer and trumpeter Jakob Buchanan moved to Mols. Here, he sits and plays in an old circus wagon on Thorup Mark, gazing over the rolling hills and becoming absorbed in an old booklet of folk tunes by the locallegend, fiddler Peter Madsen (1865–1900). One autumn day, he tries out the old dance tunes on his trumpet while looking out across the landscape. The tunes turn into hymns, and it feels as if an old soul is reborn floating across the warm, hilly land, a landscape that writes its own silent music on the horizon every day. Composer and trumpeter Jakob Buchanan was recently honored as Jazz Composer of the Year 2024 at the Danish Music Awards for the album Song & Wind, featuring the Aarhus Jazz Orchestra, Copenhagen Boys’ Choir, late percussionist Marilyn Mazur, and conductor Carsten Seyer-Hansen (OUR Recordings). https://www.buchanan.dk/ Swedish bassist Anders Jormin is one of the world’s most distinguished jazz bassists. He has received numerous awards and honors, including the rare Jan Johansson Prize, the Swedish Radio Guldkatten Award, and The Royal Swedish Academy of Music’s Grand Prize. His solo album Alone became a cult classic and was named Record of the Year in all categories worldwide in 1991. https://ecmrecords.com/artists/anders-jormin/ New York legend Chris Speed is a tenor saxophonist, clarinetist, and composer. His work spans widely rooted in jazz, yet extending into various forms of folk, classical, and rock music. Speed is associated with a wide range of ensembles and has been a prominent and influential voice in jazz and improvised music for over three decades. https://www.chrisspeed.com/ Pianist and composer Simon Toldam is one of Scandinavia’s most exciting and acclaimed musicians. He has released 17 albums, five of which have won Danish Music Awards, including Orchestra of the Year 2021 and Best Album 2019. He is a member of the Danish record label ILK Music. http://www.simontoldam.com The Artos Quartet was founded in the summer of 2018 and has quickly established itself on the Danish music scene. Its vision is to perform string quartet music at the highest level and to promote awareness of the vast repertoire of quartet works written by the most beloved composers. The Artos Quartet serves as the artistic leadership and resident ensemble of the Artos Festival in Aarhus. The quartet consists of Tue Lautrup (violin), Sarah Lucy Foldager (violin), Sanna Ripatti (viola), and Brian Friisholm (cello). https://artosquartet.dk/ Digital: 9.70859 I UPC: 730099785914 – Double Vinyl: OUR-LP006 and OUR-LP007 I UPC: 747313277322 www.ourrecordings.com - WORLDWIDE DISTRIBUTION: www.naxos.com

Between Fire and Silence is the debut album of the young Danish pianist David Munk-Nielsen, presenting a program that brings together the Romantic worlds of Robert Schumann and Jean Sibelius. Through this combination, the recording explores a rich musical landscape shaped by contrasts between intimacy and passion, reflection and intensity. At the heart of the album are two central piano works by Schumann: Kinderszenen, Op. 15 and the monumental Fantasie, Op. 17. In Kinderszenen, Schumann looks back on childhood through a series of poetic miniatures that capture innocence, nostalgia, and quiet reflection. Pieces such as the famous Träumerei reveal the composer’s deeply lyrical voice and his gift for expressing profound emotion within a small musical frame. The Fantasie, Op. 17, composed shortly afterwards, represents the other side of Schumann’s artistic personality. Vast in scale and emotional scope, the work is filled with longing, passion, and dramatic power. Written during a period when Schumann was separated from Clara Wieck, the Fantasie became a deeply personal expression of love and yearning. Together, these two works reveal the dual nature often associated with Schumann’s artistic identity: the poetic introspection of Eusebius and the fiery intensity of Florestan. Complementing Schumann’s music are selected piano pieces by Jean Sibelius from Op. 5 and Op. 24. Although Sibelius is best known for his orchestral works and symphonies, his piano music offers a more intimate perspective on his compositional voice. These miniatures are refined, atmospheric, and rich in subtle color, revealing a quieter but deeply expressive side of the Finnish composer. Placed alongside Schumann’s Kinderszenen, Sibelius’ piano works create a contemplative counterpart to the dramatic scale of the Fantasie. The program thus unfolds as a dialogue between two composers and two musical worlds, balancing Nordic lyricism with German Romantic intensity. With Between Fire and Silence, David Munk-Nielsen introduces himself as a thoughtful and expressive interpreter, presenting a debut recording that reflects both his artistic roots and his commitment to exploring the storytelling power of Romantic piano music. Cat no. 8.226938 - UPC: 636943693827 www.ourrecordings.com - WORLDWIDE DISTRIBUTION - www.naxos.com

BY OLE BUCK “I had long wished to write a concerto for Michala, not just a concerto, but the concerto for Michala, as I had mentioned several times whenever the opportunity arose. Many of the pieces I have written for M over the years have often been, if not inspired by, then certainly influenced by birdsong, not as an attempt to imitate it, but more as an underlying sonic imagination that has colored much of what I have written. And so it is in CONCERTO ROSIGNOLO. After I had composed the introduction and played it for M, the rest suddenly became crystal clear to me, an alternating progression in which I gradually transformed into a nightingale and let myself be swept along by the many new ideas that presented themselves. It may not sound like much, since I have always aimed for simplicity and transparency - and the particular tone that characterizes Michala’s playing fits beautifully into this concept. So, all in all, I had the feeling that the music was writing itself, with a nightingale perched on my desk, nodding in satisfaction: CONCERTO ROSIGNOLO was composed in 2022 for recorders and is in many ways a fantasy that emerged from a sonic sound-world, a bird world of sound, and as an echo: a nature sound that was to run through the entire concerto. The form revealed itself; it arose from the sound of the recorder. After I had composed the long introduction, without really knowing where it would lead me, it suddenly felt as though a bird landed on my writing desk and followed with interest the sketches I constantly wrote down. “It ́s a nightingale,” I thought, and the many small motifs gathered in the ensemble into a flow of birds’ voices, outbursts, and tonal colors, which shaped themselves in such a way that I let impulse determine my choices, because coincidence became the determining force of the form. I let this principle apply throughout the concerto - for example: when a trumpet broke in and imitated the recorder, it was because that insertion simply was a transition to a new section. People often speak of program music as opposed to absolute music. The former has a narrative in which the music unfolds, while the latter has a strict form, almost concrete tone by tone, duration by duration, which can be put into formula and constitute an equation that merges into a higher unity. This applies on all levels, from motif to section to the large form. This was the ideal of the great Romantics. Today, one can do whatever one wishes, which has the advantage that one may also refrain from doing what one does not wish to do, though one may be tempted anyway. When melody, for example, is in discredit, or shall we say, does not quite fit in, it is precisely because melody has a tendency -good or bad - to grasp the form, to be independent and thus break with a free sound world. Thereafter the art consists in having the melody blend in with everything else, to enter into symbiosis with the entire orchestra and to assume its place in an “order relationship” with the composition, but on a subordinate level. This latter idea has guided many passages in CONCERTO ROSIGNOLO. Most clearly in the beginning, where a simple triad unfolds to cover the entire sonic spectrum of the recorder, and to influence reactions in the rest of the orchestra. One hears birds’ outbursts, natural sounds, and the quiet resonance so typical of spring when nature gradually awakens. This I let myself be inspired by in the introduction. There is also a passage where I allow the sound to rest, and then give way to outbursts that wish to break the silence. It is as though inner forces resist stagnation, and this eternal “élan vital” is the inherent impulse toward movement. Once this impulse is set in motion, I follow up in the subsequent material, thereby reaffirming the importance of élan vital. Thus, when I attribute an overall importance to birdsong and natural sound, it has to do with the fact that what gets me started composing is: the sound of nature (“wie ein Naturlaut”) and the realistic sound world (“world music”). For me they form a sonic foundation in all music: European medieval music, music from the Orient, music from all worlds, music from all corners of the universe. And only thereafter: music form the instrumental world, the nature of the instruments, water, wind, and the human voice. Music must be like the world: it must include everything and nothing; it must be itself, it must transcend itself and it must be something entirely different than itself. As I approached the end of this Concerto Rosignolo, I naturally thought about how it might conclude, but did not need to think much about it, because the bird that sat on my writing desk knew the answer. It was silent, looking down with one eye at the manuscript, and hence the concerto ended in silence - as best you may notate silence in tones. However, it is a pulsating silence: a dialogue between the tenor recorder and trombone. But I myself would gladly have continued.”

Between Fire and Silence is the debut album of the young Danish pianist David Munk-Nielsen, presenting a program that brings together the Romantic worlds of Robert Schumann and Jean Sibelius. Through this combination, the recording explores a rich musical landscape shaped by contrasts between intimacy and passion, reflection and intensity. At the heart of the album are two central piano works by Schumann: Kinderszenen, Op. 15 and the monumental Fantasie, Op. 17. In Kinderszenen, Schumann looks back on childhood through a series of poetic miniatures that capture innocence, nostalgia, and quiet reflection. Pieces such as the famous Träumerei reveal the composer’s deeply lyrical voice and his gift for expressing profound emotion within a small musical frame. The Fantasie, Op. 17, composed shortly afterwards, represents the other side of Schumann’s artistic personality. Vast in scale and emotional scope, the work is filled with longing, passion, and dramatic power. Written during a period when Schumann was separated from Clara Wieck, the Fantasie became a deeply personal expression of love and yearning. Together, these two works reveal the dual nature often associated with Schumann’s artistic identity: the poetic introspection of Eusebius and the fiery intensity of Florestan. Complementing Schumann’s music are selected piano pieces by Jean Sibelius from Op. 5 and Op. 24. Although Sibelius is best known for his orchestral works and symphonies, his piano music offers a more intimate perspective on his compositional voice. These miniatures are refined, atmospheric, and rich in subtle color, revealing a quieter but deeply expressive side of the Finnish composer. Placed alongside Schumann’s Kinderszenen, Sibelius’ piano works create a contemplative counterpart to the dramatic scale of the Fantasie. The program thus unfolds as a dialogue between two composers and two musical worlds, balancing Nordic lyricism with German Romantic intensity. With Between Fire and Silence, David Munk-Nielsen introduces himself as a thoughtful and expressive interpreter, presenting a debut recording that Cat no. 8.226938 - UPC: 636943693827 www.ourrecordings.com WORLDWIDE DISTRIBUTION: www.naxos.com

Between Fire and Silence is the debut album of the young Danish pianist David Munk-Nielsen, presenting a program that brings together the Romantic worlds of Robert Schumann and Jean Sibelius. Through this combination, the recording explores a rich musical landscape shaped by contrasts between intimacy and passion, reflection and intensity. At the heart of the album are two central piano works by Schumann: Kinderszenen, Op. 15 and the monumental Fantasie, Op. 17. In Kinderszenen, Schumann looks back on childhood through a series of poetic miniatures that capture innocence, nostalgia, and quiet reflection. Pieces such as the famous Träumerei reveal the composer’s deeply lyrical voice and his gift for expressing profound emotion within a small musical frame. The Fantasie, Op. 17, composed shortly afterwards, represents the other side of Schumann’s artistic personality. Vast in scale and emotional scope, the work is filled with longing, passion, and dramatic power. Written during a period when Schumann was separated from Clara Wieck, the Fantasie became a deeply personal expression of love and yearning. Together, these two works reveal the dual nature often associated with Schumann’s artistic identity: the poetic introspection of Eusebius and the fiery intensity of Florestan. Complementing Schumann’s music are selected piano pieces by Jean Sibelius from Op. 5 and Op. 24. Although Sibelius is best known for his orchestral works and symphonies, his piano music offers a more intimate perspective on his compositional voice. These miniatures are refined, atmospheric, and rich in subtle color, revealing a quieter but deeply expressive side of the Finnish composer. Placed alongside Schumann’s Kinderszenen, Sibelius’ piano works create a contemplative counterpart to the dramatic scale of the Fantasie. The program thus unfolds as a dialogue between two composers and two musical worlds, balancing Nordic lyricism with German Romantic intensity. With Between Fire and Silence, David Munk-Nielsen introduces himself as a thoughtful and expressive interpreter, presenting a debut recording that reflects both his artistic roots and his commitment to exploring the storytelling power of Romantic piano music. Cat no. 8.226938 - UPC: 636943693827 www.ourrecordings.com - WORLDWIDE DISTRIBUTION - www.naxos.com

Between Fire and Silence is the debut album of the young Danish pianist David Munk-Nielsen, presenting a program that brings together the Romantic worlds of Robert Schumann and Jean Sibelius. Through this combination, the recording explores a rich musical landscape shaped by contrasts between intimacy and passion, reflection and intensity. At the heart of the album are two central piano works by Schumann: Kinderszenen, Op. 15 and the monumental Fantasie, Op. 17. In Kinderszenen, Schumann looks back on childhood through a series of poetic miniatures that capture innocence, nostalgia, and quiet reflection. Pieces such as the famous Träumerei reveal the composer’s deeply lyrical voice and his gift for expressing profound emotion within a small musical frame. The Fantasie, Op. 17, composed shortly afterwards, represents the other side of Schumann’s artistic personality. Vast in scale and emotional scope, the work is filled with longing, passion, and dramatic power. Written during a period when Schumann was separated from Clara Wieck, the Fantasie became a deeply personal expression of love and yearning. Together, these two works reveal the dual nature often associated with Schumann’s artistic identity: the poetic introspection of Eusebius and the fiery intensity of Florestan. Complementing Schumann’s music are selected piano pieces by Jean Sibelius from Op. 5 and Op. 24. Although Sibelius is best known for his orchestral works and symphonies, his piano music offers a more intimate perspective on his compositional voice. These miniatures are refined, atmospheric, and rich in subtle color, revealing a quieter but deeply expressive side of the Finnish composer. Placed alongside Schumann’s Kinderszenen, Sibelius’ piano works create a contemplative counterpart to the dramatic scale of the Fantasie. The program thus unfolds as a dialogue between two composers and two musical worlds, balancing Nordic lyricism with German Romantic intensity. With Between Fire and Silence, David Munk-Nielsen introduces himself as a thoughtful and expressive interpreter, presenting a debut recording that Cat no. 8.226938 - UPC: 636943693827 www.ourrecordings.com WORLDWIDE DISTRIBUTION: www.naxos.com

This landmark triple CD release presents for the first time the complete solo piano works of Denmark’s national composer, Carl Nielsen, performed by one of the country’s most distinguished and visionary pianists, Rikke Sandberg. She has worked with Nielsen’s music since she began playing the piano as a child, and her teachers form an unbroken lineage back to the pianists for whom Nielsen originally wrote his piano works. On this release you will find Nielsen’s original piano music as well as his own arrangements of his compositions. All of Nielsen’s solo piano music is included. The Danish press has repeatedly celebrated her artistic integrity. Politiken writes: “She gathers torrents of notes into long, breathing arcs with sharply etched detail and colourful nuance… First and foremost she is an artist; display does not interest her.” The same paper concludes: “Few Danish pianists make as great a difference in our musical life as she does.” Jyllands-Posten praises her “richly nuanced and superbly controlled playing,” while international critics highlight interpretations where “nothing sounds overheated or overplayed… full of fire and sparkling esprit… with such restrained dynamics that one’s breath is taken away.” At the heart of Sandberg’s artistry stands the great Romantic tradition, notably her acclaimed interpretations of Johannes Brahms, alongside a profound commitment to twentieth-century and contemporary Danish music. Now, that lifelong dialogue between heritage and renewal culminates in Nielsen’s piano oeuvre: music of rhythmic vitality, bold architecture, folk-like simplicity and daring modernity. Spanning nearly forty years, from intimate miniatures to monumental works, this edition reveals Nielsen in his full creative breadth. More than a recording, this is a definitive artistic statement, and the ultimate document of Carl Nielsen’s piano world.

Digital: 9.70859 I UPC: 730099785914 – Double Vinyl: OUR-LP006 and OUR-LP007 I UPC: 747313277322 www.ourrecordings.com - WORLDWIDE DISTRIBUTION: www.naxos.com On his new double vinyl album, Jakob Buchanan masterfully blends the ultra-local folk music and the unique character of the landscape, with some of the world’s leading names in modern jazz, and one of Denmark’s many great string quartets Artos Quartet. A few years ago, jazz composer and trumpeter Jakob Buchanan moved to Mols. Here, he sits and plays in an old circus wagon on Thorup Mark, gazing over the rolling hills and becoming absorbed in an old booklet of folk tunes by the locallegend, fiddler Peter Madsen (1865–1900). One autumn day, he tries out the old dance tunes on his trumpet while looking out across the landscape. The tunes turn into hymns, and it feels as if an old soul is reborn floating across the warm, hilly land, a landscape that writes its own silent music on the horizon every day. Composer and trumpeter Jakob Buchanan was recently honored as Jazz Composer of the Year 2024 at the Danish Music Awards for the album Song & Wind, featuring the Aarhus Jazz Orchestra, Copenhagen Boys’ Choir, late percussionist Marilyn Mazur, and conductor Carsten Seyer-Hansen (OUR Recordings). https://www.buchanan.dk/ Swedish bassist Anders Jormin is one of the world’s most distinguished jazz bassists. He has received numerous awards and honors, including the rare Jan Johansson Prize, the Swedish Radio Guldkatten Award, and The Royal Swedish Academy of Music’s Grand Prize. His solo album Alone became a cult classic and was named Record of the Year in all categories worldwide in 1991. https://ecmrecords.com/artists/anders-jormin/ New York legend Chris Speed is a tenor saxophonist, clarinetist, and composer. His work spans widely rooted in jazz, yet extending into various forms of folk, classical, and rock music. Speed is associated with a wide range of ensembles and has been a prominent and influential voice in jazz and improvised music for over three decades. https://www.chrisspeed.com/ Pianist and composer Simon Toldam is one of Scandinavia’s most exciting and acclaimed musicians. He has released 17 albums, five of which have won Danish Music Awards, including Orchestra of the Year 2021 and Best Album 2019. He is a member of the Danish record label ILK Music. http://www.simontoldam.com The Artos Quartet was founded in the summer of 2018 and has quickly established itself on the Danish music scene. Its vision is to perform string quartet music at the highest level and to promote awareness of the vast repertoire of quartet works written by the most beloved composers. The Artos Quartet serves as the artistic leadership and resident ensemble of the Artos Festival in Aarhus. The quartet consists of Tue Lautrup (violin), Sarah Lucy Foldager (violin), Sanna Ripatti (viola), and Brian Friisholm (cello). https://artosquartet.dk/

Carl Nielsen's Clarinet Concerto is a must Concerto for all clarinettist in the world. OUR Recordings released a Live performance of the concerto with Jonas Frølund and Danish Chamber Orchestra conducted by Adam Fischer. Carl Nielsen’s Clarinet Concerto (1928) unfolds like a dramatold in sound. The clarinet steps forward as a restless, vibrantcharacter on stage. Its partner, the snare drum, spars andshadows, while strings, horns, and bassoons weave aroundthem. Every phrase feels like dialogue, full of reaction and surprise.Nielsen treats each instrument as an individual voice with itsown story. The clarinet invents ideas, shaping the music’s restless journey. Here Nielsen writes with mature clarityand fearless imagination. He called the clarinet both warm and hysterical, tender and shrill. Through such contrasts, the concerto glows with rigour and lightness. The result is chamber-like, lyrical, and crystal clear in sound. 01 Allegretto un poco, Adagio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.24 02 Poco Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.44 03 Allegretto non troppo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..6.58 04 Allegro vivace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.17 Total. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24.23 Danish clarinetist Jonas Frølund has swiftly emerged as a singular voice of his generation. Shaped by studies in Copenhagen and Paris, his artistry carries both depth and brilliance. Honored with awards from Denmark to Prague, his path is marked by distinction. As soloist and guest principal, he graces international stages and renowned festivals. He collaborates with celebratedcomposers, weaving new sounds into living tradition. His recordings reveal a fearless versatility, from Nielsen to the freshest voices of today. Frølund’s vision is clear: music as passion, community, and a bridge across boundaries. The Danish Chamber Orchestra, musician-owned since 2015, traces its roots back to 1939. With Chief Conductor Adam Fischer, it has earned international acclaim while keeping a strong local profile.The orchestra champions outreach, talent development, and new formats, bringing music to audiences of all ages across Denmark. Hungarian-born conductor Adam Fischer (b. 1949) is celebrated worldwide for both opera and symphonic repertoire, with collaborations spanning leading concert halls and opera houses. He has received numerous honors, including the Wolf Prize (2019), ICMA Lifetime Achievement Award (2022), and multiple ICMA Special Achievement Awards (2025).

Jimenez poem. To Platero (A Platero en el cielo de Moguer) in the Heaven of Moguer Dear, trotting Platero, my beloved little donkey, who carried my soul so many times—only my soul!, along the deep roadways of cacti and mallows and honeysuckle; for you this book that is of you, now that you can understand it. It goes to your soul that grazes now in paradise, through the soul of our Moguer landscape, which must also have gone to heaven with yours; it carries on its paper back my soul which, traveling among the flowering briers, on its ascension becomes better, more peaceful, purer each day. Yes. I know that when at the close of day I come slowly and thoughtfully through the oropéndolas and the orange blossoms across the lonely orange grove to the pine tree that watches over your last sleep, you, Platero, happy in your meadow of eternal roses, will see me stop before the yellow lilies that have sprung from your buried heart.

Jimenez poem for La Primavera: 4. Spring (La primavera) “O what sparkles and odors! O how pasture grounds rejoice! O what joy and mirth are heard!” (Popular ballad) My morning nap is disturbed by a devilish noise of children and I am in an ill-humor. No longer able to sleep, I leave my bed in despair. Then, looking out from my open window, I realize that it is the birds whose shrill clatter has disturbed my slumbers. I go down to the garden and sing thanks to the God of the blue day. Free concert of singing bills, fresh and endless music. The swallow, fanciful one, utters her warbling from the well; the blackbird whistles on the fallen orange; the fiery golden oriole chatters from evergreen to evergreen; the blue titmouse laughs long and daintily on the top of the eucalyptus tree; and in the tallest pine the sparrows argue outrageously. What a morning! The sun spreads his gold and silver gladness on the earth; myriad-colored butterflies flit everywhere, among the flowers, through the house, now in, now out, above the spring. Everywhere the countryside burst open to a bubbling of new and wholesome life. It is as though we were inside a great honeycomb of light, which might be the heart of an immense, calid, scarlet rose.

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.