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BIS

瑞典 BIS 官網連結

BIS公司由瑞典人羅勃‧馮‧巴爾(Robert Von Bahr)於1974年創立,因地緣與文化背景的關係,致力於北歐及蘇俄作曲家作品,如葛利格、西貝流士、尼爾森等人都是錄製的重點,至今已出版千餘張CD,榮獲英國留聲機大獎、企鵝三星帶花、企鵝三星…等不勝枚舉,是瑞典首屈一指的古典唱片公司。 
雖然BIS公司出版的作品都是一些冷門或被忽視的樂曲,但經巴爾精心策劃,並透過高度的音樂表現及一流錄音技術處理,都能順利的大量銷售,使公司一直維持良好的營運情況,毫無疑問的愛樂者對他的支持,是基於他對理想的堅持與對藝術執著的態度,BIS公司業績成長已是有目共睹,而且是一個擁有獨特理想與風格的唱片公司。 

BIS Records was founded in 1973 by Robert von Bahr, with the aim of helping world-class Swedish musicians to reach international audiences. Starting out with a Revox tape-recorder, two state-of-the-art microphones and a pair of non-magnetic scissors he immediately impressed connoisseurs by the natural sound of his recordings, and single-handedly built up a catalogue that could be exported all over the world.

 

Now in its 35th year, BIS is a flourishing and much respected label with more than 1.400 titles in stock – the only large record label to keep all its recordings constantly available. Going against the trend of the classical music business, BIS is expanding in various ways. With its present staff of 14 – including no less than six recording producers – BIS has become a leading player, yearly undertaking some 60 productions recorded all over the world: from Brazil to Japan, from Iceland to Australia.

This development is partly due to the universally recognized superior sound quality of its recordings, which include a growing number of high fidelity surround sound productions. The company’s reputation has attracted an impressive list of artists, including young high profile soloists such as pianist Yevgeny Sudbin and clarinettist Martin Fröst.

Another explanation lies in the label’s versatility. Ongoing projects include one of the most respected cycles of Bach Cantatas with period band Bach Collegium Japan as well as the highly praised series of Beethoven Symphonies with Osmo Vänskä and the Minnesota Orchestra. But at the same time, BIS is one of the liveliest contemporary music labels, promoting composers such as Schnittke and Kalevi Aho, as well as the Scandinavian music label par excellence – the jewel in the crown being the ongoing complete edition of the works by Sibelius.

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貝多芬:弦樂三重奏作品第九號 Beethoven:String Trios Op.9
巴洛克三重奏鳴曲一路發展下來,最後的舞台便是弦樂三重奏。貝多芬早期對這種演出類型相當感興趣,因而嘗試寫了幾部作品。1794年他完成降E大調弦樂三重奏作品第三號,個性上可以看出受到莫札特降E大調嬉..
貝多芬:悲愴奏鳴曲、月光奏鳴曲、熱情奏鳴曲 Beethoven:Sonatas Pathétique, Moonlight and Appassionata
本輯收錄貝多芬最著名的三大鋼琴奏鳴曲。《C小調第8號鋼琴奏鳴曲,Op.13》寫於1798年,貝氏親自將之取名《悲愴》,全曲情感單一,小調未用大調來補償,憂鬱樂句未用樂觀樂句加以平衡,在當時相當前..
貝多芬:晚期弦樂四重奏(室內管弦樂團改編版) Beethoven:The Late String Quartets transcribed for Chamber Orchestra
和其他作品相同,貝多芬的晚期弦樂四重奏毫無疑問已經是立於該類型的顛峰。但是和貝多芬同時期的作曲家能接受這個事實的並不多:史博批評它們「艱澀難懂,錯的離譜」,在他們看來這些四重奏不過就是作曲家因為..
貝多芬:最後三首鋼琴奏鳴曲 Beethoven:Last Three Piano Sonatas
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貝多芬:第一、三號鋼琴協奏曲 Beethoven:Piano Concertos Nos. 1 & 3
This is the first disc in Ronald Brautigam’s Beethoven Piano Concertos cycle; part of his ongoing..
貝多芬:第三號鋼琴三重奏、第七號鋼琴三重奏《大公》 Beethoven:Piano Trios Op.1 & 97 (Kempf Trio)
儘管莫札特和海頓都對鋼琴三重奏有所貢獻,到了貝多芬手中,這種曲式才成為能夠跟弦樂四重奏平起平坐的重要室內樂。1794年完成的《C小調鋼琴三重奏,Op.1 No.3》,其調性跟《悲愴奏鳴曲》和《命..
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貝多芬:第九號交響曲「合唱」 Beethoven:Symphony No.9 ‘Choral’
《D小調第9號交響曲,Op125》係1824年貝多芬五十四歲那年之作,此前他剛完成另一個偉大作品《莊嚴彌撒》。音樂學者一般認為,《莊嚴彌撒》將宗教人文主義化,而《第9號交響曲》則將人文主義予以宗..
貝多芬:第五號鋼琴協奏、合唱幻想曲 Beethoven:Piano Concerto No.5 & Choral Fantasia
羅納德.布勞提岡的貝多芬鋼琴協奏曲系列,終於來到最後一集,貝多芬專家巴瑞.庫伯在解說冊中提到第五號是貝多芬所有協奏曲中最具備至高榮耀特質的作品。歷來第五號協奏曲一直以皇帝協奏曲的名字廣為人知,無..
貝多芬:第四、五號鋼琴協奏曲 Beethoven:Piano Concertos 4 & 5
貝多芬從一開始就知道,鋼琴協奏曲是用來證明身為作曲家和演奏者的天份野心的最佳利器,因此一到四號協奏曲都是以他自己擔任獨奏的角度作為出發點。這很明顯是受到莫札特的影響,當時才16歲的貝多芬亟欲向這..