Thomas Fritzsch jest jednym z najbardziej uznanych ekspertów w grze na violi da gamba, specjalizującym się przede wszystkim w muzyce kameralnej. Płyta z dziełami Karla Friedricha Abla jest kwintesencją delikatnego eleganckiego brzmienia, idealnie wpasowującego się w jego muzyczny smak.
Cantigas de Amigo czyli Pieśni do Przyjaciela to historia o miłości opowiedziana językiem średniowiecznych pieśni hiszpańskich i francuskich - muzyczna opowieść o uczuciach widzianych oczyma kobiet. Płytę otwiera najstarszy zachowany w Hiszpanii cykl pieśni miłosnych : Cantigas de Amigo Martina Codaxa, hiszpańskiego muzyka i poety. Dalej opowieść przenosi się na tereny średniowiecznej Francji, gdzie towarzyszą nam pieśni trubadurów i truwerów. Kobieta, która kocha, tęskni, cierpi, skarży się, ale też i bawi, flirtuje, zadaje rany to barwny portret namalowany poetyckim tonem średniowiecznej liryki. Solistką i producentem albumu jest Anya Jagielska www.annajagielska.art.pl Płyta została wydana nakładem wydawnictwa ANYA Records 2008. Książeczka w dwóch językach: polskim i angielskim. Wykonawcy - TRIO COMTESSA:Anna Jagielska: sopran, harfa gotycka, kierownictwo artystyczne Marta Maślanka: cymbały, instrumenty perkusyjne Judyta Wrona-Tupczyńska: fidele średniowieczne
This recording brings together all the harpsichord arrangements by Bach of instrumental concertos by his Italian contemporary Antonio Vivaldi, adding those of one concerto each by the brothers Alessandro and Benedetto Marcello. Performed by Sophie Yates on harpsichord, she is described by Gramophone as "hugely talented".
Pierwszy tom z serii Handel we Włoszech. London Early Opera do bogatej skarbnicy utworów Haendla dodaje kompzycje Thomasa Arne i Johna Hebdena.
Mieszanka baroku europejskiego i tradycji muzycznych z nowego świata.
Tracklista: CD 1 1. Early Musik Conscort Of London - Danserye (Auszug) 2. La Mourisque 3. Branle Quatre - Branles 4. Ronde - Salterelle 5. Ronde Mon Amy 6. Allemagne - Recoupe 7. Pavane Mille Regretz 8. Basse Danse Bergeret Sans Roch - Reprise 9. Danse Du Roy 10. Ronde 11. Passe Et Medio 12. Reprise Le Pingue 13. Ronde 14. Pavane La Bataile 15. Early Musik Conscort Of London - The First Booke O 16. Mounsier's Almaine 17. Lachrimae Pavan 18. Michill's Galliard 19. Lute Duet: My Lord Chamberlain's Galliard 20. The Jew's Dance 21. Captaine Piper's Pavan & Galliard 22. My Lord Of Oxenford's Maske 23. Lavolto - La Coranta CD 2 1. Early Musik Conscort Of London - Terpsichore (Ausz 2. Passmeze 3. Ballo Francese 4. La Bourree 5. Pavane De Spaigne 6. Courante M. M. Wuestrow 7. Suite De Ballets - Ballet Des Baccanales - Ballet 8. Reprise 9. La Sarabande 10. Suite De Voltes - Volte 1-4 11. Early Musik Conscort Of London - Il Primo Libro De 12. Pass'e Mezzo Della Paganina - Ballo Francese - La 13. Early Musik Conscort Of London - Canzona A 8 14. Early Musik Conscort Of London - La Negrona (Canzo 15. Early Musik Conscort Of London - Canzona Nr. 1 A 1 16. Early Musik Conscort Of London - Il Primo Libro De 17. Pass'e Mezzo Moderno - Ballo Anglese - Schiarazula
Antonio de Almeida was born to a Portuguese mother and American father, who emigrated to Argentina when he was young. There he studied theory and composition with the composer Alberto Ginastera, and cello with Washington Castro. Subsequently he was a pupil of Paul Hindemith at Yale University. He worked for two seasons at Tanglewood with Serge Koussevitzky and then with George Szell and Leonard Bernstein, going on to play horn, bassoon, oboe, clarinet and cello in several student orchestras. In 1945 he founded the MIT (Massachusetts Institute of Technology) Symphony Orchestra in Boston, and in 1947 the Chamber Orchestra of New Haven. Almeida then worked in Mexico before becoming head of the opera department at the University of Los Angeles in 1953. His conducting career soon developed in Europe: between 1957 and 1960 he directed the Symphony Orchestra of Radio Lisbon in Portugal; during the following decade he led the Stuttgart Philharmonic Orchestra for the 1963–1964 season; and he went on to work at the Paris Opera between 1965 and 1967. Returning to the USA as principal guest conductor of the Houston Symphony Orchestra between 1969 and 1971, Almeida was subsequently also musical director of the Friends of French Opera, New York. From 1976 to 1978 he was music director of the Nice Philharmonic Orchestra in France. Antonio de Almeida’s career was now international in scope, with many guest engagements with front-rank ensembles such as the Chicago, Philadelphia and San Francisco Symphony Orchestras in the USA, and the Royal Philharmonic and Berlin Philharmonic Orchestras in Europe, amongst many others. In 1992 he took up his last permanent post, as music director of the Moscow Symphony Orchestra, a position that he held until his death in 1997. His repertoire was extremely catholic, although with a distinct bias towards French music. He prepared a thematic catalogue of the music of Offenbach and conducted the first complete reconstruction of the original score of Les Contes d’Hoffmann. He also edited a complete edition of the symphonies of Boccherini. For his services to French music he was made a member of the Légion d’honneur. On record Almeida championed the unknown, making the first recording of Bizet’s opera Le Docteur Miracle. Towards the end of his life he conducted the Moscow Symphony Orchestra in many significant première recordings of music by Sauguet, Castillo, Tournemire and Malipiero, for the Marco Polo label. Other highlights of his recorded repertoire include a set of rarely performed symphonies by Haydn for the Haydn Foundation; fine accounts of the operas La Juive (Halévy), Mignon (Thomas), Le Calife de Bagdad (Boieldieu) and L’infideltà delusa (Haydn); music by Lalo, Schmitt, Chausson, Dukas and Duparc; and the complete operatic ballet music of Donizetti and Rossini. His performances were always assured, and in French music in particular possessed style and sensitivity. Antonio de Almeida died in Pittsburgh in 1997 aged 69
Choć pochodzą z bardzo różnych epok, William Byrd i Arvo Pärt są uważani za mistrzów muzyki sakralnej. Program płyty to fascynujące połączenie sześciu utworów Byrda z Cantiones sacrae tym monumentalnego Tribue i Domine, z trzema dziełami Pärta, stanowiącymi unikalną mieszankę starożytnego i współczesnego stylu. Gorąco Polecamy.
Adam JarzębskiConcerto secondo a 21. Concerto secondo a 2 1:47 Adam JarzębskiConcerto terzo a 22. Concerto terzo a 2 2:46 z Wągrowca AdamCanzona13. Canzona 3:06 z Wągrowca AdamCanzona14. Canzona 3:06 Andrzej RohaczewskiCanzona a 45. Canzona a 4 2:13 Marcin MielczewskiCanzona a 26. Canzona a 2 5:45 Marcin MielczewskiAria a 37. Aria a 3 3:05 Marcin MielczewskiCanzona a 38. Canzona a 3 3:20 Stanisław Sylwester SzarzyńskiSonata a due violini con basso pro organo9. Sonata a due violini con basso pro organo 6:22 Kaspar junior FörsterSonata La Sidon10. Sonata La Sidon 7:01 Tarquinio MerulaCanzona nona La Calzolara11. Canzona nona La Calzolara 4:17 Jan PodbielskiPreludium212. Preludium 1:31 Jan PodbielskiPreludium213. Preludium 1:31
Tracklista:1. Concerto primo, G major2. Concerto secondo, E minor3. Concerto Terzo, D major4. Sonata seconda a tre, C major5. Concerto quarto, F major6. Concerto quinto, G minor7. Concerto sesto, B major