‘We take the artists’ side’: Robert von Bahr on 50 years of BIS Records

2023 has been a momentous year for BIS records. The Swedish label turned 50 this year, having produced over 2,750 records – including a 68-disc complete Sibelius Edition, as well as a host of contemporary repertoire never previously recorded – all still available from stock. Robert von Bahr, who founded the company in 1973, stated that the BIS anniversary was marked in August, when, 50 years ago, he took a taxi ride to a recording session at Stockholm Synagogue. That recording became their first LP release, and von Bahr, who until then had been working as a recording engineer at the Royal Stockholm Philharmonic Orchestra, established BIS.

Celebrations aside, von Bahr wants to focus on ensuring that their award-winning work, in particular with regards to new music, can continue. ‘What I think is, we are giving people the choice,’ he explains. ‘We record so much that has never been done before. If music exists in a high-quality recording, with the best possible performers and venue, listeners are provided with the choice to hear something never heard before. You can’t guarantee that everyone will like everything, but we have made it possible for them to listen, and to decide.’ This earnest mission was recognised in London at the 2023 Gramophone Awards, where BIS was chosen as ‘Label of the Year’, receiving praise for the personal nature of each release and the exploratory repertoire selections. von Bahr had been ‘waiting and hoping’ for BIS to achieve such an award: ‘I would agree that our work is indeed personal, we have an intense, personal interest the music. It is therefore all work that is done with heart, that is to say with both interest, and love.’

Robert von Bahr collects the 2023 Gramophone Label of the Year award (Image courtesy of BIS Records)

The label’s beginnings back in the early 70s came from a place, not only of interest and love, but also of perseverance. Having first studied law, von Bahr then began singing studies at the Stockholm Music College, and knew a lot of professional musicians in the city who wanted to record: ‘My wife at the time was a flautist, and I thought she was really so good, and that people needed to hear her. It was as simple as that. I wrote a round of letters to record companies telling them this, and, of course, had absolutely no answer. So after that, I sent another round of letters, this time with a cassette tape, too. Again, no answers. The third time, I sent a round of letters with a master tape, and finally received answers. They all said no. There was horror at the fact that we had commissioned contemporary music for the recording!’

In the end, it was a film company who agreed to release the first LP, on the basis that von Bahr and his colleagues would pay for photos and mastering, and buy 500 copies. The record sold well, and it encouraged von Bahr to keep going with his venture. Soon enough, BIS was making headlines on the national news, albeit for reasons one couldn’t predict: ‘Working from a tiny office, I used to transport our records to shops in suitcases. On the Stockholm subway, this cost extra money – I would have to buy an extra ticket for each suitcase. A pram was allowed on the subway free of charge, and so I began transporting the LPs in a pram around the city. Using my training as a lawyer, I was able to be very clear with staff that nowhere in the regulations did it state that with the pram you must have a baby…!’ von Bahr appeared on Swedish television when news reporters heard about his eccentric delivery methods, and the publicity proved useful for his startup: ‘I would arrive at places, and say, “Hello I’m Robert von Bahr”, and people would say, “Oh yes, we know about you!”’

'There have been times when we have stopped a recording if an artist isn’t prepared' von Bahr's exacting standards have built a 2,750-strong catalogue at the BIS Warehouse

A year later, the label launched into international distribution through a collaboration with soprano Birgit Nilsson, who von Bahr met when he first worked as a recording engineer and technician. In the years since, BIS have recorded the likes of Alexandre Kantorow, Roderick Williams, BBC Singers, Leonidas Kavakos, Martin Fröst, the Philharmonia Orchestra, the Minnesota Orchestra and the Royal Stockholm Philharmonic Orchestra. A stand-out project for von Bahr is their work with Masaaki Suzuki and the Bach Collegium Japan, as he recalls hearing the conductor painstakingly making sure that the instrumentalists, not just the singers, knew and understood every word of the text in the Bach cantatas, and could therefore express the words through their playing. This level of detail and care is in line with von Bahr’s diligence when it comes to ensuring the quality of the recordings: ‘Musicians talk,’ he says, ‘and when I first started working with musicians, I was shocked at how they were being treated, and their ‘so-called’ contracts. We take the artists’ side. It’s important to safeguard their interests, and in turn this works well for us and our reputation. They will tell others if they’re not being treated well, or not being paid their royalties. Equally, we have been tough with artists, and there have been times when we have stopped a recording if an artist isn’t prepared. Again, musicians talk. For everyone’s sake, we have always done the utmost to protect the quality.’

The 50-year anniversary of BIS was not the only birthday celebrated in 2023. von Bahr is delighted to proclaim that he feels ‘on top of the world,’ after turning 80 this year, and happier still that he is able to continue to champion music that he loves through his work. In a recent announcement he confirmed that label is to become a part of Apple through the Apple-owned company Platoon, but that following the acquisition all he and all his employees will be retained. ‘Apple have shown, not only in their words, but in their deeds, that they are interested in classical music. I think we have come into very good hands with Apple, who are an able partner that will see our work continue. I have seven children, none of whom want to take over the label, and what remains most important to me is that all of this music, these composers with whom we have built relationships – for example the Pickard Mass in Troubled Times, a work that still gives me goosebumps every time I listen, the Fisher Passion of St. Thomas More… he sent us a master tape from America and I invited him to my home to rehearse! – it’s my hope that all of this can be available for future generations to hear.’