Mari Dangerfield

The ancient, shamanistic, musical traditions of the Samis of northern Scandanavia, in what was once known as Lapland, are given a modern twist by vocalist and drummer Mari Boine (Persen). Although her highly rhythmic songs are rooted in the wordless, yodeling-like, vocal style of yoik (or joik), Boine's arrangements incorporate influences of jazz, rock and other ethnic elements.

Passionate, dramatic, yet poetic and richly nuanced Mari Kodama brings all these qualities to her interpretation of Beethovens Complete Piano Concertos. This exceptional recording with the Deutsches Symphonie Orchester Berlin shines with extraordinary intensity and contrast, due in no small measure to the artistic bond between Mari Kodama and her husband, the conductor Kent Nagano. Beethovens Piano Concertos are undoubtedly amongst the most influential works in the history of music. Art demands of us that we shall not stand still, the composer once wrote, placing the idea of development at the heart of his music. His five piano concertos saw Beethoven take piano music out of the salon and into the concert hall, playing a crucial role in advancing the genre towards the symphony, whilst simultaneously creating a bridge from the First Viennese School to the Romantic period. Mari Kodama, whose virtuosic mastery of the piano made her a household name all over the world, has completed the Beethoven Piano Concerto Cycle with her husband Kent Nagano, the international star conductor.

Simply MARI is the name of the Deutsche Grammophon debut of Norwegian violinist Mari Samuelsen. Recorded with the Konzerthausorchester Berlin under the baton of Jonathan Stockhammer, MARI's music reflects the contradictions of life in our time - the feeling of haste in everyday life, of being driven by constant communication, of being uprooted in a boundlessly mobile world, but MARI also refers to the longing for peace and quiet, for a place in nature to find oneself again.

The ancient shamanistic musical traditions of the Sami of northern Scandinavia are given a modern twist by vocalist and drummer Mari Boine (Persen). Although her highly rhythmic songs are rooted in the wordless, yodeling-like vocal style of yoik (or joik), Boine's arrangements incorporate influences of jazz, rock, and other ethnic elements.

Entre 1994 et 1998, l’absence de tout nouvel album studio de la seule chanteuse samì (de Laponie) qui bénéficie d’une renommée internationale, Mari BOINE, alimentait les plus inquiètes interrogations. Et ce n’est pas une simple compilation (Radiant Warmth) dont le contenu reprenait des pièces de ses albums Goaskinviellja (Eagle Brother) et Leahkastin (Unfolding) qui était de nature à nous rassasier (surtout quand on sait qu’un album live autrement pertinent, Eallin, est sorti à la même époque, mais n’a pas été diffusé en France). Et voici que Bálvvoslatjna (Room of Worship), son cinquième opus, paraît sans crier gare pour rasséréner nos consciences.

BIS present a disc of works by the Japanese composer Mari Takano, composed between 2003 and 2009. The four duos and trios that share the title LigAlien are all results of the idea of what would it be like to implant ‘alien’ music into one of Ligeti’s works. Interspersing the four 'LigAliens' are two solo pieces, Jungibility for piano and Full Moon for violin and electronics, which also embrace a wealth of ideas both musical and otherwise from Duke Ellington, Omar Sosa and Stockhausen (Jungibility) and Björk, Pina Bausch and Miles Davis (Full Moon).

The profile of Norwegian soprano Mari Eriksmoen continues to rise through her regular appearance on Europe’s major opera, concert and recital stages, and she is consistently praised for her compelling blend of radiant stage personality and purity of vocal tone. This is her first opera arias recital and is focused on Handel and Mozart. Previously on disc, Eriksmoen features on Schumann’s Szenen aus Goethes Faust with Symphonieorchester des Bayerischen Rundfunks under Daniel Harding, Mozart’s Die Entführung aus dem Serail, both with Akademie für alte Musik Berlin under René Jacobs and Glyndebourne Festival conducted by Robin Ticciati, and in a ​“poised, elegant and persuasive” (Guardian) debut recital disc featuring songs by Grieg, Grøndahl, Wolf and Strauss with Alphonse Cemin (Alpha).