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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Recorder, Michala Petri - viola da gamba, Hille Perl - harpsichord, Mahan Esfahani Georg Philipp Telemann (1681 - 1767) Sonata Corellisante no. 2 A Major (trio sonata) 1 Largo 2 Allemande 3 Sarabanda 4 Corrente recorder, viola da gamba, harpsichord

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

Harpsichord, Mahan Esfahani

Mahan Esfahani, harpsichord – Michala Petri, recorder – Hille Perl, viola de gamba Johann Sebastian Bach (1685 – 1750) Choral: “Von Gott will ich nicht lassen” from Leipziger Choräle BWV 658 harpsichord, recorder, viola da gamba

Recorder, Michala Petri - viola da gamba, Hille Perl - harpsichord, Mahan Esfahani Georg Friedrich Händel (1685 - 1759) Sonata for alto recorder and basso continuo D Minor HWV 367 1 Largo 2 Vivace 3 Furioso 4 Adagio 5 Alla breve 6 Andante 7 A tempo di minuetto recorder, harpsichord, viola da gamba

What you get to hear and see in this video production is beautiful Danish contemporary music for solo clarinet, presented in the beautiful setting of a landscape of colours, namely the Carl-Henning Pedersen & Else Alfelts Museum in Herning, Denmark - www.chpeamuseum.dk The music is a world premiere recording of the Pour clarinette seule II from 1961 by Danish composer Gunnar Berg (1909-1989), played by young Danish clarinetist Jonas Frølund, who was followed around the museum by the camera and drone equipment of young Danish Klavs Kehlet. The video is in full colour with the aim of capturing in a convincing and exciting artistic way both the colourful and dynamic expression of the music itself and the vivid polychrome world of the unique ceramic walls by Danish painter Carl-Henning Pedersen (1913-2007). His monumental ceramic mural, The Play of Imagination around the Wheel of Life from 1966-68, in the inner courtyard of the former shirt factory Angligården (designed by Danish C. F. Møller Architects and based on an idea by landscape architect C. Th. Sørensen) was indirectly the reason why the City of Herning in 1976 founded a museum based on the unique collection of works of art created by Carl-Henning Pedersen and his wife, Else Alfelt (1910-1974). Originally, the museum consisted of a single circular building for exhibitions. In 1993, the museum was extended with a three-sided prism, and on the occasion of Carl-Henning Pedersen's 90th birthday in 2003, his final monumental work in Herning, the 12-meter high Obelisk, was erected in the middle of the roundabout in Birk, right next to the museum; in 2015, then, the museum was further expanded with an underground corridor so that today there is a direct connection with the old Angli factory, the inner courtyard and the Carl-Henning Pedersen & Else Alfelts Museum. Credits Jonas Frølund plays a Buffet Crampon Tradition Clarinet in Bb https://www.jonasfrolund.com Audio recordings by Mette Due at the Concert Hall of the Malmö Live Konserthus, June 7-11, 2021 Video recordings by Klavs Kehlet, July 17-18, 2021 and July 9-10, 2022 https://kehletvideo.dk Pour clarinette seule I-II is published by Edition Svitzer https://www.editionsvitzer.com/catalog/pour-clarinette-seule-i-ii/c-23/p-297 Pour clarinette seule I is released by OUR Recordings https://www.ourrecordings.com/albums/solo-alone-and-more Carl-Henning Pedersen & Else Alfelts Museum https://chpeamuseum.dk Working Group Gunnar Berg https://www.facebook.com/ArbejdsgruppeGunnarBerg

What you get to hear and see in this video production is beautiful Danish contemporary music for solo clarinet, presented in the beautiful and unique setting of a Danish summer landscape with contemporary architecture and modern sculptural outdoor installations around Steven Holl’s HEART - Herning Museum of Contemporary Art - in Birk Centerpark, Jutland. The music is a world premiere recording of the Pour clarinette seule I from 1957 by Danish composer Gunnar Berg (1909-1989), played by young Danish clarinetist Jonas Frølund, who was followed around at Birk by the camera and drone equipment of young Danish Klavs Kehlet. The resulting video is in black and white, with all shades of grey offering their own visual music, while the soft curves and sharp edges of the clarinet piece and those of the architectural and sculptural forms are captured in a convincing and exciting artistic way. The German poet Goethe (1749-1832) famously tried to illustrate the nature of music by referring to architecture and even sought to say something meaningful about architecture by referring to music. After Goethe, the Austrian music critic Hanslick (1825-1904) no less famously coined the phrase “tönend bewegte Formen”. As for Gunnar Berg, the much later composer featured in this production, a truly new and modern music should and could embrace a contemporary array of techniques and ways of expression in the same way that new materials had both forced and allowed architects to come up with new solutions, new structures, new forms and indeed new townscapes or the new visual music of a modern building rising in a landscape . . . just have a look at the thumbnail photo from the Birk compound, a signature work by that great Dane, Jørn Utzon (1918-2008). Credits Jonas Frølund plays a Buffet Crampon Tradition Clarinet in Bb https://www.jonasfrolund.com Audio recordings by Mette Due at the Concert Hall of the Malmö Live Konserthus, June 7-11, 2021 Video recordings by Klavs Kehlet, July 17-18, 2021 and July 9-10, 2022 https://kehletvideo.dk Pour clarinette seule I-II is published by Edition Svitzer https://www.editionsvitzer.com/catalog/pour-clarinette-seule-i-ii/c-23/p-297 Pour clarinette seule I is released by OUR Recordings https://www.ourrecordings.com/albums/solo-alone-and-more HEART – Museum of Contemporary Art, Herning https://www.heartmus.dk/en/ Working Group Gunnar Berg https://www.facebook.com/ArbejdsgruppeGunnarBerg Bjarke Ingels om Jørn Utzon https://www.youtube.com/watch?v=E1iZg9u0vM4&t=14s Stephen Holl – Spaces like Music https://www.youtube.com/watch?v=u4xoohJvNvs&t=64s

Experience the brilliance of Poul Ruders' latest EP! Enjoy a captivating teaser of his enchanting Piano Trio, composed for TRIO CON BRIO COPENHAGEN. Discover the vibrant contemporary music and stay tuned for the full release on September 15th. Don't miss this magical musical journey!

Hans Abrahamsen: GUSH for Clarinet Solo (2023) - played by Jonas Frølund at the release of his debut solo album SOLO ALONE AND MORE in Byens Landhandel, Nørrebro, Copenhagen.

Jonas Frølund takes us to his favorite food shop at Nørrebro, Copenhagen, where we held the Danish release of his debut album. Jonas also explain why this place was chosen for the release. This album is already remarkable well received by the International press.

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.

Experience the breathtaking beauty of Olivier Messiaen's monumental piano cycle, Vingt Regards sur l'Enfant-Jésus, in this mesmerizing performance by renowned pianist Kristoffer Hyldig. Composed during the German occupation of France in 1944, this two-and-a-half-hour work is a testament to the indomitable spirit of joy, love, and hope. Join us on a musical journey as Hyldig explores the intricate themes and motifs that weave through Messiaen's masterpiece. From the theme of joy to the theme of love, and the evocative motifs like bells, lightning, birdsong, and more, each element comes to life in this extraordinary performance. Hyldig's exceptional musicality and sensitivity shine as he navigates the technical and emotional challenges of this demanding composition. His interpretation captures the essence of Messiaen's vision, creating an immersive experience that touches both the soul and the senses. Recorded in Vor Frelser's Church, Copenhagen, during a time of lockdown, this performance is a testament to the resilience and creativity of artists. The recording, produced by the renowned Preben Iwan, captures the ethereal acoustics of the church, adding an extra dimension to the listening experience. Immerse yourself in the profound beauty of Messiaen's Vingt Regards sur l'Enfant-Jésus, a true masterpiece that transcends time and touches the depths of the human spirit. Don't miss this extraordinary musical journey. Released on OUR Recordings May 2023

BENT SØRENSEN (b.1958) Lontanamente Fragments of a Waltz. Jonas Frølund, clarinet, live in the Concert Church, Nørrebro, Copenhagen in the concert series Modern Mondays.

Join us for an extraordinary musical experience with "Song & Wind," a remarkable production brought to you by the Aarhus Jazz Orchestra and the Copenhagen Royal Chapel Choir. This unique collaboration also features the renowned musician Marilyn Mazur, adding her exceptional talents to the mix. Under the expert guidance of conductor Carsten Seyer-Hansen, this performance promises to be a true masterpiece. Composer Jakob Buchanan has crafted a mesmerizing composition that explores the meeting point between these two distinct entities. The innocent and angelic voices of the boys' choir symbolize humanity's purity and goodness, while Marilyn Mazur's mastery of sound embodies the primal forces of Mother Earth. Prepare to be captivated as the jazz orchestra intertwines seamlessly with the choir voices, creating a harmonious fusion that resonates with both depth and beauty. Buchanan's existential songs, sung by the choir, offer profound reflections on life and existence. Witness the landscapes of sound come to life as Marilyn Mazur colors the music with her unique instrumental approach, providing a counterplay that enhances the overall experience. Expect a compelling drama, as this collaboration weaves together a narrative that leaves a lasting impression. Immerse yourself in "Song & Wind," a concert that transcends boundaries and delivers a powerful story through music. Don't miss this opportunity to witness the convergence of talent, creativity, and pure musical magic. #SongAndWind #ExtraordinaryMusicalExperience #AarhusJazzOrchestra #CopenhagenRoyalChapelChoir #MarilynMazurOnStage #MasterpiecePerformance #JakobBuchananComposition #HarmoniousFusion #MusicalMagicUnleashed #TranscendBoundariesWithMusic #OurRecordings

Olivier Messiaen: Vingt Regards: XIX. Je dors, mais mon coeur veille (I sleep, but my Heart is awake) from Vingt Regards sur l`Enfant - Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021 Ce n’est pas d’un ange l’archet qui sourit – c’est Jésus dormant qui nous aime dans son Dimanche et nous donne l’oubli … (It is not an angel’s bow that smiles, – it is the sleeping Jesus, who loves us on His Holy Day and who gives us forgetfulness… ) 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

Scandinavian Guitar Duo reflects on the 30 Years Anniversary. Since their debut 30 years ago, guitarists Per Pålsson and Jesper Sivebæk - the Scandinavian Guitar Duo have established themselves among the most popular chamber ensembles in Denmark. They literally exploded on the concert scene just shortly after graduating from the Academy of Music and Dramatic Arts, Southern Denmark when they won first prize in Danish Radio’s prestigious Chamber Music Competition. From that auspicious beginning their fame and accomplishments continue to grow, receiving the Sonning Foundation’s special Segovia Prize, founded by the legendary Spanish guitarist Andres Segovia as well as taking Gold or Silver in many international guitar competitions. The Duo has toured in Europe, USA and China. While impeccable in their musicianship, it is their incredible interconnectedness as a duo, performing almost as a single instrument, that has wowed critics and audiences the world over. For their new album, Per and Jesper chose some of the pieces they love most dearly and have played for many years. From their own arrangement of Händel’s virtuosic Chaconne to the enchanting innocence of Faure’s Dolly Suites, (written by Faure for his daughter), an original from Fernando Sor, the Paganini of the guitar, and of course, a stop along the way to sunny Spain, courtesy of Enrique Granados as well. While fans of the guitar will thrill to the Duo’s effortless precision, this is an album that most fully displays the guitar as beloved broadcaster and teacher Jim McCutcheon has described as “the instrument held closest to the heart.” YouTube links: Pas Espagnol from Dolly Suite by Gabriel Fauré: https://www.youtube.com/watch?v=cSc_diAwoOY Berceuse from Dolly Suite by Gabriel Fauré: https://www.youtube.com/watch?v=Zi1Ndrx_tfw L’Encouragement, op. 34 by F. Sor: https://www.youtube.com/watch?v=miCfXul02qw

Olivier Messiaen: Vingt Regards: XX. Regard de l’Eglise d’amour (Gaze of the Church of Love)from Vingt Regards sur l`enfant Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021 La grâce nous fait aimer Dieu comme Dieu s’aime ; après les gerbes de nuit, les spirales d’angoisse, voici les cloches, la gloire et le baiser d’amour … Toute la passion de nos bras autour de l’Invisible … (Grace mades us love God as God loves us; after the shower of the night, the spirals of anguish, here are bells, glory and the kiss of love… All the passion of our arms embrace the Invisible One…) 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: XVI. Regard des prophètes, des bergers et des Mages (Gaze of the Prophet, the Shepherds and the Wise) from Vingt Regards sur l`Enfant - Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021 Tam-tams et hautbois, concert énorme et nasillard … (Tam-tams and oboe, a tremendous nasal concert…) 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: V. Regard du Fils sur le Fils (Gaze of the Son on the Son) from Vingt Regards sur l`enfant Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Mystère, rais de lumière dans la nuit – réfraction de la joie, les oiseaux du silence – la personne du Verbe dans une nature humaine – mariage des natures humaine et divine en Jésus Christ (Mystery, rays of light in the night – refraction of joy, the birds of silence – the person of the Word made flesh – the union of human and divine nature in Jesus Christ…) 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: X. Regard de l’Esprit de joie (Gaze of the Joyous Spirit) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Danse véhémente, ton ivre des cors, transport du Saint-esprit … la joie d’amour du Dieu bienheureux dans l’âme de Jésus-Christ … (Violent dance… the joyous sound of horns, the rapture of the Holy Spirit….the joyous love for God in the soul of Jesus Christ…) 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: II. Regard de l’étoile (Gaze of the Star) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Choc de la grâce … l’étoile luit naïvement surmontée d’une croix … (Horrors of grace… while the star shines naively, the cross rises behind him…) 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: XV. Le baiser de l’Enfant-Jésus (The Kiss of the Child Jesus) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. À chaque communion, l’Enfant-Jésus dort avec nous près de la porte ; puis il l’ouvre sur le jardin et se précipite à toute lumière pour nous embrasser … (At each Communion the Child Jesus sleeps with us, close to the gate; then he opens it towards the garden and approaches us in a blaze of light to embrace us…) 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: I. Regard du Père (Gaze of the Father) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Et Dieu dit: « Celui-ci est mon Fils bien-aimé en qui j’ai mis toutes mes complaisances …» (And the Lord said: “This is my son in whom I am well pleased”) 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: VII. Regard de la Croix (Gaze of the Cross) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. 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) Released on www.ourrecordings.com SACD catalogue number 6.220677 and 78

Olivier Messiaen: Vingt Regards: XIV. Regard des Anges (Gaze of the Angels) from Vingt Regards sur l`Enfant -Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021. Scintillements, percussions ; souffle puissant dans d’immenses trombones ; tes serviteurs sont des flammes de feu … puis le chant des oiseaux qui avalent du bleu – et la stupeur des anges s’agrandit : car ce n’est pas à eux mais à la race humaine que Dieu s’est uni … (Flickering, beating; tremendous breathing in immense trombones; Your servants are flames of fire… – suddenly the song of birds falling out from the blue, – and the fright of the angels increases: – for not with them, but with of the human race, God has united…) 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: XVII. Regard du silence (Gaze of Silence) from Vingt Regards sur l`Enfant - Jesus. Kristoffer Hyldig, piano, live recorded in Vor Frelsers Church, Copenhagen March 18.-2021 Silence dans la main, arc-en-ciel renversé … chaque silence de la crèche révèle musiques et couleurs qui sont les mystères de Jésus-Christ … (Silence in the hand, inverted rainbow… every silence of the manger revealed Music and colours that symbolise the mysteries of Jesus…) Video: Klaus Kehlet Sound: Preben Iwan Steinway & Sons Grand Piano model D-274 sponsored by Juhl-Sørensen A/S Released on www.ourrecordings.com SACD catalogue number 6.220677 and 78

In this Season of music and lights we hope you enjoy the video, a new set of variations on the traditional Danish “Nisselandsby” – (Elf Village) Every year my daughters Agnete and Amalie discuss the Christmas theme,- and this year Agnete and Amalie Hannibal Petri decided the theme for the Elves Village to be - compassion, empathy and humanity. Music: Max Reger: Maria`s Lullaby with Michala Petri and Danish Chamber Orchestra conducted by Henrik Vagn Christensen. Arr: Wolfgang Käfer.

Bjarke Mogensen say: "All my life I have admired, studied and performed the music of the extraordinary Argentinian composer, Astor Piazzolla (1921-1992). It is a great pleasure to release a whole instrumental Piazzolla album for the centenary of his birth. I decided to base my tribute solely on Piazzolla titles but also dived headlong into designing a varied and comprehensive listening experience, an hour of interchanging accordion solos, instrumental duos, and pieces that I arranged for myself and a small group of mixed instruments. The music is all Astor but with a touch of Bjarke here and there and maybe everywhere, in fact. There are no singers involved, but Piazzolla’s music sings, and our instruments sing, and at every corner there is melancholy, tripping feet, fast figures, and an atmosphere of Buenos Aires". All of Piazzolla’s more than 750 works are inextricably bound to an essential and unmistakable Argentinian identity. In commemoration of 100th anniversary of the birth of the genius of Nuevo Tango, the young Danish master of the modern accordion, Bjarke Mogensen, is joined by the award-wining percussionist Johan Bridger and winner of the title “Chromatic Harmonica World Champion”, and ‘New Jazz Star of The Year’ Mathias Heise. Together with members of The Danish Chamber Players they bring Piazzolla’s vibrant and sensuous scores vividly to life! Tracklist for the album: 1 ADIÓS NONINO (accordion solo) 2 VIBRAPHONISSIMO (accordion, vibraphone) 3 CAFÉ 1930 (accordion, harmonica) 4 TRISTANGO (accordion, vibraphone/percussion) 5 ACONCAGUA 1st movement (accordion, chamber ensemble) 6 FUGA Y MISTERIO (accordion, chamber ensemble) 7 CORAL (accordion, chamber ensemble) 8 ALLEGRO TANGABILE (accordion, chamber ensemble) 9 CONTRAMILONGA A LA FUNERALA (accordion, chamber ensemble) 10 NOVITANGO (accordion, chamber ensemble) 11 DESPERTAR cadenza (accordion solo) Total: 66.07

Bjarke Mogensen say: "All my life I have admired, studied and performed the music of the extraordinary Argentinian composer, Astor Piazzolla (1921-1992). It is a great pleasure to release a whole instrumental Piazzolla album for the centenary of his birth. I decided to base my tribute solely on Piazzolla titles but also dived headlong into designing a varied and comprehensive listening experience, an hour of interchanging accordion solos, instrumental duos, and pieces that I arranged for myself and a small group of mixed instruments. The music is all Astor but with a touch of Bjarke here and there and maybe everywhere, in fact. There are no singers involved, but Piazzolla’s music sings, and our instruments sing, and at every corner there is melancholy, tripping feet, fast figures, and an atmosphere of Buenos Aires". All of Piazzolla’s more than 750 works are inextricably bound to an essential and unmistakable Argentinian identity. In commemoration of 100th anniversary of the birth of the genius of Nuevo Tango, the young Danish master of the modern accordion, Bjarke Mogensen, is joined by the award-wining percussionist Johan Bridger and winner of the title “Chromatic Harmonica World Champion”, and ‘New Jazz Star of The Year’ Mathias Heise. Together with members of The Danish Chamber Players they bring Piazzolla’s vibrant and sensuous scores vividly to life! Tracklist for the album: 1 ADIÓS NONINO (accordion solo) 2 VIBRAPHONISSIMO (accordion, vibraphone) 3 CAFÉ 1930 (accordion, harmonica) 4 TRISTANGO (accordion, vibraphone/percussion) 5 ACONCAGUA 1st movement (accordion, chamber ensemble) 6 FUGA Y MISTERIO (accordion, chamber ensemble) 7 CORAL (accordion, chamber ensemble) 8 ALLEGRO TANGABILE (accordion, chamber ensemble) 9 CONTRAMILONGA A LA FUNERALA (accordion, chamber ensemble) 10 NOVITANGO (accordion, chamber ensemble) 11 DESPERTAR cadenza (accordion solo) Total: 66.07Bjarke Mogensen say: "All my life I have admired, studied and performed the music of the extraordinary Argentinian composer, Astor Piazzolla (1921-1992). It is a great pleasure to release a whole instrumental Piazzolla album for the centenary of his birth. I decided to base my tribute solely on Piazzolla titles but also dived headlong into designing a varied and comprehensive listening experience, an hour of interchanging accordion solos, instrumental duos, and pieces that I arranged for myself and a small group of mixed instruments. The music is all Astor but with a touch of Bjarke here and there and maybe everywhere, in fact. There are no singers involved, but Piazzolla’s music sings, and our instruments sing, and at every corner there is melancholy, tripping feet, fast figures, and an atmosphere of Buenos Aires". All of Piazzolla’s more than 750 works are inextricably bound to an essential and unmistakable Argentinian identity. In commemoration of 100th anniversary of the birth of the genius of Nuevo Tango, the young Danish master of the modern accordion, Bjarke Mogensen, is joined by the award-wining percussionist Johan Bridger and winner of the title “Chromatic Harmonica World Champion”, and ‘New Jazz Star of The Year’ Mathias Heise. Together with members of The Danish Chamber Players they bring Piazzolla’s vibrant and sensuous scores vividly to life! Tracklist for the album: 1 ADIÓS NONINO (accordion solo) 2 VIBRAPHONISSIMO (accordion, vibraphone) 3 CAFÉ 1930 (accordion, harmonica) 4 TRISTANGO (accordion, vibraphone/percussion) 5 ACONCAGUA 1st movement (accordion, chamber ensemble) 6 FUGA Y MISTERIO (accordion, chamber ensemble) 7 CORAL (accordion, chamber ensemble) 8 ALLEGRO TANGABILE (accordion, chamber ensemble) 9 CONTRAMILONGA A LA FUNERALA (accordion, chamber ensemble) 10 NOVITANGO (accordion, chamber ensemble) 11 DESPERTAR cadenza (accordion solo) Total: 66.07

I interviewet taler Birgitte om krigens og ufredens tåbelighed, om klimakrisen og om vigtigheden af kunst, kultur og ånd.

From the recording of MIRROR OF THE PAST – based on Tang Dynasty Poems “In 2006, a Chinese colleague in Shanghai gave me a wonderful bilingual book of poems from the Tang Dynasty (618-907). These poems have as a common theme man’s wonder at and deep dependence on nature. In their apparently naive form, they explore the reverence humans used to have for nature, and give perspective to the distorted relationship we have today.” Lars Hannibal The poems of ancient China have fascinated and inspired western composers and as far back as the 1830s when Carl Loewe 1796-1869) first set verses from Goethe’s Chinesisch-deutsche Jahres- und Tageszeiten. This love affair would culminate most famously in Mahler’s Das Lied von der Erde. While nowhere near as ambitious Mahler, Hannibal’s settings of Tang Dynasty poetry in Mirror of the Past do inhabit a similar emotional world as Mahler’s autumnal masterpiece, the contrapuntal interplay of percussion, voice, guitar, recorder and erhu sounding as if an ancient of painting has been brought to life. From the wistful melancholy of My Delayed Departure to the tolling of evening bells in The Dale of Singing Birds, Hannibal and friends take you on a fabulous journey through time and sound vivid captured in immersive DXD by the internationally celebrated master of sound, Preben Iwan. Joshua Cheek

Lyrics: Nordahl Grieg. Music: Otto Mortensen Arrangement by Lars Hannibal and Michala Petri. From OUR Recordings new release FOUR NORDIC SONGS TO OUR WORLD. The songs for this album were carefully chosen by Birgitte Grimstad. They are older but still comments on the current situation in the world with all its wars, greed and climate change, and offers alternative perspectives to the younger generation for the future. Birgitte’s interpretations speak with the compassion and authority of a woman who lived through many of the world’s most turbulent period with a voice so strong that you cannot help but listen and reflect! Birgitte is born in Copenhagen 1935, grew up as daughter of the beloved Danish tenor Aksel Schiøtz, who under the German occupation in WW2 collected and supported the Danish people by leading mass events of singing Danish songs, so song is a natural way for Birgitte to speak about the injustices of the world. A life-long activist, Danish-born Norwegian folk singer Birgitte Grimstad has become a fixture at Nordic marches for peace and justice, woman’s rights and climate movements. She is an icon as a folk and protest singer and was one of the organizers of the Nordic Women’s Peace Marches in Copenhagen-Paris 1981, Stockholm-Moscow and Minsk 1982 and in 1983 Oslo-New York-Washington D.C. where the group also participated in a commemoration of Martin Luther King’s March on Washington. Most recently, she participated in the 2018 Nordic Peace March: Neighbors as friends - not enemies! traveling from Moscow and St. Petersburg in Russia. Michala Petri and Lars Hannibal have played together since 1992, and this year they are celebrating their 30th anniversary with more than 2000 concerts around the world as the Petri/Hannibal Duo. Recorded April 19th 2022 in Copenhagen. Producer: Mette Due. Video: Julie Malmstrøm Media

Lyrics: Harald Sverdrup Music: Birgitte Grimstad Arrangement by Lars Hannibal and Michala Petri. From OUR Recordings new release FOUR NORDIC SONGS TO OUR WORLD. The songs for this album were carefully chosen by Birgitte Grimstad. They are older but still comments on the current situation in the world with all its wars, greed and climate change, and offers alternative perspectives to the younger generation for the future. Birgitte’s interpretations speak with the compassion and authority of a woman who lived through many of the world’s most turbulent period with a voice so strong that you cannot help but listen and reflect! Birgitte is born in Copenhagen 1935, grew up as daughter of the beloved Danish tenor Aksel Schiøtz, who under the German occupation in WW2 collected and supported the Danish people by leading mass events of singing Danish songs, so song is a natural way for Birgitte to speak about the injustices of the world. A life-long activist, Danish-born Norwegian folk singer Birgitte Grimstad has become a fixture at Nordic marches for peace and justice, woman’s rights and climate movements. She is an icon as a folk and protest singer and was one of the organizers of the Nordic Women’s Peace Marches in Copenhagen-Paris 1981, Stockholm-Moscow and Minsk 1982 and in 1983 Oslo-New York-Washington D.C. where the group also participated in a commemoration of Martin Luther King’s March on Washington. Most recently, she participated in the 2018 Nordic Peace March: Neighbors as friends - not enemies! traveling from Moscow and St. Petersburg in Russia. Michala Petri and Lars Hannibal have played together since 1992, and this year they are celebrating their 30th anniversary with more than 2000 concerts around the world as the Petri/Hannibal Duo. Recorded April 19th 2022 in Copenhagen. Producer: Mette Due. Video: Julie Malmstrøm Media