The Finnish composer Kalevi Aho and his younger colleague and compatriot Sebastian Fagerlund have both received international recognition for their masterful treatment of large orchestral forces. This they have demonstrated in purely orchestral as well as in concertante works – Aho has written 26 concertos to date (most of them in his monumental project to compose a concerto for each of the main orchestral instruments), and Fagerlund’s concertos for clarinet and for violin have been released by BIS to critical acclaim.

Following a rock/metal album recorded with his band ORBI [BIS-2297], Bram van Sambeek returns with his own idea of a dance album. For it he has selected four works by Johann Sebastian Bach that consist mainly of typical baroque dances - but just as van Sambeek's metal album wasn't made for headbanging, Bach's dances weren't meant for dancing, but rather to be listened to. The album opens with van Sambeek's own arrangement of the celebrated Partita in C minor for keyboard which he describes in his liner notes as one of his favorite works to listen to.

Following a rock/metal album recorded with his band ORBI [BIS-2297], Bram van Sambeek returns with his own idea of a dance album. For it he has selected four works by Johann Sebastian Bach that consist mainly of typical baroque dances – but just as van Sambeek’s metal album wasn’t made for headbanging, Bach’s dances weren’t meant for dancing, but rather to be listened to.

As Bram van Sambeek writes in the liner notes to his new disc, bassoonists consider Mozart’s Concerto in B flat major the absolute pinnacle of their repertoire. A man of great contrasts himself, Mozart recognised the potential of the bassoon as a vehicle for expressing a wide range of moods and attitudes – from the joking and playful to the dreamily tuneful. Another composer who showed a special understanding for the instrument was Carl Maria von Weber, whose Concerto in F major doesn’t come far behind Mozart’s on the list of all-time bassoon hits.