Muzyka klawesynowa Jana Sebastiana Bacha w wykonaniu francuskiej klawesynistki Céline Frisch.

• Wykonawca Frisch Celine
• Data premiery 2014-09-15
• Nośnik CD

The Copts are the indigenous Christians of Egypt and direct descendants of the ancient Egyptians. The word “Copt” istself is derived from the Greek “Aigyptos”, and these “Egyptians” are frequently referred to as the modern sons of the Pharaos.St Mark apostle and evangelist was the founder of the Coptic Church and the first of an unbroken succession of 117 popes and patriarchs. When, in the year 68 AD, Mark was martyred in Alexandria, Anianos had already become bishop and the young church then 26 years old was already well-organized.Today serving solely liturgical purposes, the Coptic language evolved out of the ancient Egyptian tongue, which dates back to the time of the Pharaohs.Musicological research shows that not only does the Coptic Church practise the oldest Christian form of music, it also possesses the oldest school of music in the world. By virtue of the conservative character of the Coptic Church, its tradition has been handed down orally from generation to generation by priests and cantors in wholly or only slightly changed form, so that its music has remained intact.Not until well into the 20th century was Coptic music notated. In 1927 a devout and wealthy Copt invited the noted English musicologist Ernest Newland Smith (Oxford University; Royal Academy, London) to come to Egypt, to listen to the singers of the Coptic Church and to set their melodies down in notation for the first time in history.

• Wykonawca Kethedralchor Kairo
• Data premiery 2012-10-01
• Nośnik CD

Tracklista: 1. Musette: À l'ombre d'un ormeau 2. Le Tic-Toc-Choc ou les Maillotins 3. Les Ombres errantes 4. Affectueusement 5. Grande Ritournéle 6. La Croûilli ou La Couperinéte – Première partie 7. Seconde partie de la Pièce prédédente dans le goût de Musète 8. Brunette: Zephire, modère en ces lieux 9. La Muse naissante 10. L'Enfantine 11. L'Adolescente 12. Les Délices 13. La Pastorelle: Il faut aimer dès qu'on sait plaire 14. La Petite Pince-sans-rire 15. Qu'on ne me dise plus que c'est la seule absence 16. Air 17. Forlane – Rondeau 18. Doux liens de mon coeur 19. Gavotte 20. La Reine des Coeurs 21. Chaconne ou Passacaille 22. Le Dodo ou L'Amour au berceau

• Wykonawca Sailly Brice
• Data premiery 2018-03-16
• Nośnik CD

In the summer and early autumn of 1781, Joseph Haydn began work on the six quartets we know today as Op. 33, or more eruditely as Hoboken III: 37-42. They are also known popularly as the “Jungferne” quartets, the “Russian” quartets and “gli scherzi”.In the late autumn of that year, Haydn sent letters to several “gentleman amateurs, great connoisseurs and patrons of music” inviting them to subscribe to manuscript parts of “for the price of 6 ducats… 6 Quartets for 2 violins, viola and violoncello concertante… written in a new and special way.” That Haydn was in a position to send such a letter was due to the wonderful gift Prince Nicolaus Esterhazy gave his Kapellmeister in 1779 – license to write whatever works he chose for sale outside of his duties at the Esterhazy court.Haydn’s German phrase describing the pieces was “von einer Neu, gantz besonderer Art”, so indeed, Haydn’s “new and special way” might also be rendered as “new and completely different” or even “novel and entirely exquisite”.To put the price into perspective, a decent set of clothes tailored in Vienna cost 7 Ducats; Haydn’s official salary from the Prince was 600 Ducats/annum, although in fact, with additional awards, his earnings were nearer 1000. Three of Haydn’s letters trying to sell subscriptions for the quartets still exist. The first is addressed to Johann Kaspar Lavater, a Swiss poet, and one of the leading exponents of the Sturm und Drang movement. The second is addressed to Robert Schlecht, Cistercian Abbott of Salmannsweiler in Land Baden (a musically significant hub) a repeat customer, having acquired Haydn’s Symphony No. 24 in 1773. The third is to Prince Oettingen-Wallerstein, whose court was a hotbed of chamber music activity. Beyond hiring an excellent orchestra and fine composers, he encouraged traveling musicians to perform at court there, hosting, among many others, Beethoven in 1787 and Haydn on his first journey to London, in 1791. Haydn anticipated selling 16 such subscriptions, representing approximately one sixth of his annual official pay. In December, 1781, he sent the quartets to his primary publisher, the Viennese house of Artaria, understanding that they would be published after he had satisfied his subscribers. Artaria, however, had the pieces engraved very quickly, and offered them for sale on December 29, 1781. This enraged Haydn, who stood to lose a considerable sum, and he immediately ceased all further correspondence with Artaria (Artaria’s selling price for the engraved quartets was 4 gulden, which represented about 14% of the 6 Ducats Haydn was asking for the manuscript parts). Two weeks later, realizing perhaps the advantage of the long-term relationship with Artaria, Haydn had calmed down; within a month of that, Haydn offered the quartets to Hummel in Berlin, and Forester in London, both of whom published them that year. The Hummel edition featured an engraving of a young maiden, or “Jungferne”, the first of the popular names for the quartets. All of this activity points to the significance and popularity of the works, which were consumed almost exclusively by amateur performers; the notion of a public, professional string quartet concert in most of Europe was still several decades away. The first documented performance of the quartets was in the chambers of the Russian Grand Duke Paul (later Tsar Paul I). Haydn inscribed a dedication on the manuscript copy of the quartets that he gave to the Grand Duke, hence the second popular nickname, the “Russian” Quartets. The third popular name, “gli scherzi” or “the Jokes”, speaks to the music itself. For the first time in his quartets, Haydn replaces the minuet movement with one entitled scherzo; while all six movements share essentially the same form, they demonstrate incredible variety of texture and invention. In the trio section of the scherzo of Op. 33, No. 2 in E flat major (Hob. III: 38, which is itself known as “the Joke”), Haydn specifies fingerings in the first violin part that imply sliding between the pitches (perhaps a slightly tipsy tavern fiddler?). The last movement of the same piece features an elaborate joke, with several false endings, finishing with precisely the same two measures as it began. Haydn again uses the technique of reprise in the opening movement of Op. 33, No. 5 (Hob. III: 41, the “How do you do?”) again using a two-measure unit. As these pieces were intended for private consumption, they are also full of jokes for the performers themselves. One of our favourites is in the last movement of Op. 33, No. 4 (Hob. III: 40), in which the first violinist has awkward string crossings at breakneck speed, while the second violinist essentially fills in the first violinist’s part in the higher octave; what we hear is a simple line, what we see is Haydn torturing the first violinist, making him work a great deal harder than absolutely necessary!

• Wykonawca Eybler Quartet
• Data premiery 2012-11-01
• Nośnik CD

Po ostatnim nagraniu koncertów branderburskich Sigiswald Kujiken z Le Petit Bande prezentują nagranie 4 suit orkiestrowych. Kameralny zespół doskonale wpasowuje się w konwencje suit w stylu francuskim. Szczególną zaletą tego podejścia jest przejrzystość wiodącego głosu oraz parti continuo, złożonej z klawesynu i dwóch wysokich na 8 stóp wiolonczel, wydających bardziej rezonansowy dźwięk.

• Wykonawca La Petite Bande
• Data premiery 2013-08-01
• Nośnik CD

Orlando Consort prezentuje muzykę Guillaume’a de Machaut, jednego z najbardziej znanych poetów i kompozytorów francuskich, zwanych – ze względu na połączenie talentu poetyckiego i kompozytorskiego - jednym z ostatnich truwerów Francji. Miłosne pieśni Machaut miały ogromny wpływ na współczesnych ale też do dziś są niewyczerpanym źródłem inspiracji.

• Wykonawca Orlando Consort
• Data premiery 2013-10-01
• Nośnik CD

Jolanta Sosnowska z powodzeniem wykonuje muzykę od baroku po współczesność z zachowaniem kanonów interpretacji każdej epoki. Jest zdobywczynią I nagrody w Konkursie Skrzypcowym im. Paula Rollanda w USA i finalistką kilku prestiżowych konkursów muzyki dawnej. Jako skrzypaczka barokowa, koncertująca na oryginalnym XVIII wiecznym instrumencie, ma na swoim koncie występy solowe w holenderskim Concertgebouw Amsterdam (jako stypendystka Jumpstart Jr. Foundation) i w austriackim Konzerthaus Wien.W roku 2012, po sukcesach na II Międzynarodowym Konkursie im. Heinricha Bibera w St. Florian, została zaproszona do wykonania recitali w ramach festiwali muzyki dawnej Resonanzen i Innsbrucker Festwochen der Alten Musik w Austrii. Oprócz występów w niemal wszystkich krajach europejskich, ma na swoim koncie także koncerty w Japonii, Meksyku, Peru, w Rosji i w USA. Artystka dokonała również licznych nagrań płytowych i audycji radiowych, m. in. dla austriackiego radia ORF, meksykańskiego OPUS oraz wytwórni: Sony Classical, Pan Classics, Gramola, Deutsche Grammophon czy Naxos.Prezentowana płyta „baRock & Vienna” to pierwszy album w dyskografii artystki z muzyką austriacką, w większości barokową (wyjątek: „Sonata in D major RV 810” Vivaldiego), na którym prezentuje ona specjalną selekcję utworów, pochodzących zarówno ze zbiorów austriackich jak i brytyjskich. Trzy spośród siedmiu kompozycji umieszczonych na płycie („Sonata in A”, „Sonata Prima” i „Seconda Aria in D major”) zostały nagrane po raz pierwszy w historii światowej fonografii.Tracklista:1. Bonaventura Viviani (1638-1693) - Sonata in A2. Heinrich Schmelzer (1620-1680) - Sonata Prima3. Ignazio Albertini (1644-1685) - Sonata in A major no 5 (Sonatinae XII)4. Emperor Leopold I (1640-1705) - Seconda Aria in D major [Courante-Gavotte-Gigue] (Suites)5. Anton A. Schmelzer (1653-1701) - Sonata “Turkenschlacht bei Wien 1683”6. Heinrich Schmelzer (1620-1680) - Ciaccona in A major (Arien zu den Baletten)7. Antonio Vivaldi (1678-1741) - Sonata in D major RV 810:I. AndanteII. AllegroIII. SicilianaIV. Allegro

• Wykonawca Sosnowska Jolanta & friends
• Data premiery 2016-01-15
• Nośnik CD

CD 11. Sonata No.1 in G minor (BWV 1001) / Adagio2. Sonata No.1 (BWV 1001) / Fuga: Allegro3. Sonata No.1 (BWV 1001) / Siciliana4. Sonata No.1 (BWV 1001) / Presto5. Partita No.1 in B minor (BWV 1002) / Allemanda6. Partita No.1 (BWV 1002) / Double7. Partita No.1 (BWV 1002) / Corrente8. Partita No.1 (BWV 1002) / Double: Presto9. Partita No.1 (BWV 1002) / Sarabande10. Partita No.1 (BWV 1002) / Double (2)11. Partita No.1 (BWV 1002) / Tempo di Borea12. Partita No.1 (BWV 1002) / Double (3)13. Sonata No.2 in A Minor (BWV 1003) / Grave14. Sonata No.2 (BWV 1003) / Fuga15. Sonata No.2 (BWV 1003) / Andante16. Sonata No.2 (BWV 1003) / AllegroCD 21. Partita No.2 (BWV 1004) - Allemanda2. Partita No.2 (BWV 1004) - Corrente3. Partita No.2 (BWV 1004) - Sarabanda4. Partita No.2 (BWV 1004) - Gigue5. Partita No.2 (BWV 1004) - Chaconne6. Sonata No.3 (BWV 1005) - Adagio7. Sonata No.3 (BWV 1005) - Fugue: Allabreve8. Sonata No.3 (BWV 1005) - Largo9. Sonata No.3 (BWV 1005) - Allegro assai10. Partita No.3 (BWV 1006) - Prelude11. Partita No.3 (BWV 1006) - Loure12. Partita No.3 (BWV 1006) - Gavotte & Rondo13. Partita No.3 (BWV 1006) - Menuet I & II14. Partita No.3 (BWV 1006) - Bouree15. Partita No.3 (BWV 1006) - Gigue

• Wykonawca Szeryng Henryk
• Data premiery 2006-03-07
• Nośnik CD

Kantaty kompozytorów włoskich tworzących w XVI wieku Luigiego Rossi, Domenica Mazzocchi i Giacomo Carissimiego w wykonaniu zespołu Los Músicos de Su Alteza pod dyrekcją Luisa Antonio Gonzáleza.

• Wykonawca Los Musicos de su Alteza
• Data premiery 2012-07-02
• Nośnik CD

Trzecie nagranie Kennetha Weissa dla wytwórni Satirino ponownie na historycznym instrumencie z paryskiego Musée de la musique, nagrodzone m.in. Prestiżową nagrodą Choc de Classica. Ten czteropłytowy album to prawdziwa perła dla miłośników muzyki dawnej, wykonywanej zgodnie z konwencją danej epoki. Bogata książeczka zawiera wszelkie niezbędne informacje o wykonaniu i instrumencie. Wszystko to w wyjątkowo atrakcyjnej cenie. Gorąco polecamy.

• Wykonawca Weiss Kenneth
• Data premiery 2014-08-01
• Nośnik CD