Ur Musig (1993) Cyrill Schläpfer, Rees Gwerder, Jakob Alder, Jakob Duesel

12 years after his album entitled ‘Italian Virtuosi of the Chitarrone’ (BIS-1899), Jakob Lindberg returns to his magnificent theorbo, specially built for him by the luthier Michael Lowe, based on an instrument preserved in the Musée de la Musique in Paris. One of the most spectacular instruments of the early baroque owing to its length and great number of strings, the theorbo was originally designed to accompany the voice, but is also ideally suited to solo performance. For this disc, Lindberg has chosen pieces by Robert de Visée, one of the great French masters of the lute, theorbo and guitar repertoire and a favourite of Louis XIV. The recording features dances as well as character pieces, including a moving ‘Plainte’ in memory of his two deceased daughters. It also includes de Visée’s arrangements of compositions by Lully, Couperin and Purcell as well as his own version of Les Folies d’Espagne, a very popular chord progression that inspired so many composers of his time. Jakob Lindberg writes: ‘I can’t help but be seduced by the grace of the instrument’s lines, the resonance of its sonorities, and by the unmistakably French elegance of this remarkable composer.’

„When we walked out on stage it felt like a homecoming,” says Jakob Bro of this texturally spacious and emotionally charged live recording from Copenhagen, on which three of the defining protagonists of improvisation in Denmark, leading musicians from three generations of Danish jazz, come together. The concert, in February 2023, was particularly poignant since it marked a return to performance for trumpeter Palle Mikkelborg, who delivers some of his most thoughtful playing here. Repertoire, drawn from Jakob Bro’s Returnings and Gefion albums, is addressed in spontaneous and exploratory spirit, and transformed as Marilyn Mazur’s subtle percussion language of blossoming gongs and metals and rumbling drums blends with Bro’s drifting and rippling washes of sound. The music’s atmospheric qualities, as well its eruptive moments, are enhanced by the resonant acoustics of the Danish Radio Concert Hall.

12 years after his album entitled ‘Italian Virtuosi of the Chitarrone’ (BIS-1899), Jakob Lindberg returns to his magnificent theorbo, specially built for him by the luthier Michael Lowe, based on an instrument preserved in the Musée de la Musique in Paris. One of the most spectacular instruments of the early baroque owing to its length and great number of strings, the theorbo was originally designed to accompany the voice, but is also ideally suited to solo performance. For this disc, Lindberg has chosen pieces by Robert de Visée, one of the great French masters of the lute, theorbo and guitar repertoire and a favourite of Louis XIV. The recording features dances as well as character pieces, including a moving ‘Plainte’ in memory of his two deceased daughters. It also includes de Visée’s arrangements of compositions by Lully, Couperin and Purcell as well as his own version of Les Folies d’Espagne, a very popular chord progression that inspired so many composers of his time. Jakob Lindberg writes: ‘I can’t help but be seduced by the grace of the instrument’s lines, the resonance of its sonorities, and by the unmistakably French elegance of this remarkable composer.’

On Remembering, the Danish cellist Jakob Kullberg continues his collaborations with two of the foremost Nordic composers: Per Nørgård and Kaija Saariaho. Praised internationally for his performances of the modern cello concerto, Kullberg regards the concerto form as the encounter of an individual soloist with the sound world of a composer. With living composers this approach often results in an unusual degree of collaboration, as the works gathered here bear witness to. Since 1999, Kullberg has enjoyed a close and unique partnership with Nørgård which has resulted in a large number of works.

The popularity of the lute in the Renaissance and Baroque periods continued during the early years of Haydn's life. By this time it usually had thirteen courses (twenty-four strings arranged in pairs with the top two courses being single) and it was still appreciated among the European aristocracy. It is therefore not surprising to find four works for lute and strings by Joseph Haydn in two manuscript sources from the middle of the 18th century. Three of these are well known in versions for string quartet (Op.1 No.1, Op.1 No,6 and Op.2 No.2) whereas the Sonata a 3 in F major has not survived in any other form.

Celebrating his 90th birthday in 2022, Per Nørgård is undoubtedly one of the most important Danish composers since Nielsen. His important production that covers all genres is a highly personal travel document based on his endless incursions through the sonic labyrinths of this world.