Tracklista:Kinderszenen, Op. 151. I. Von fremden Landern und Menschen2. II. Kuriose Geschichte3. III. Haschemann4. IV. Bittendes Kind5. V. Glückes genug6. VI. Wichtige Begebenheit7. VII. Träumerei8. VIII. Am Kamin9. IX. Ritter vom Steckenpferd10. X. Fast zu ernst11. XI. Fürchten machen12. XII. Kind im Einschlummern13. XIII. Der Dichter sprichtPiano Concerto in A Minor, Op. 5414. I. Allegro affettuoso15. II. Intermezzo16. III. Allegro vivace

• Wykonawca Stadtfeld Martin
• Data premiery 2015-02-13
• Nośnik CD

MOZART CLARINET QUINTET

• Wykonawca Portal Michel
• Data premiery 2005-01-01
• Nośnik CD

Sony Classical ma zaszczyt zaprezentować miłośnikom opery unikalny zestaw kompletnych rejestracji spektakli operowych, w ramach serii Sony Classical Opera, zarejestrowanych w epoce płyt winylowych. Wszystkie nagrania pochodzą z niezrównanego katalogu RCA Victor. Taśmy poddane zostały masteringowi, dzięki czemu uzyskano wyjątkową jakość brzmienia. W pochodzącym z wczesnych lat 70-tych XX wieku nagraniu opery Pucciniego "Il Tabarro" usłyszymy plejadę gwiazd scen operowych: Leontyne Price, Placido Domingo, Sherrill Milnes i innych. New Philharmonia Orchestra poprowadził Erich Leinsdorf.

• Wykonawca Erich Leinsdorf
• Data premiery 2017-09-22
• Nośnik CD

Tracklista: CD 1 1. Allegro Con Brio 2. Scherzo 3. Largo E Mesto 4. Finale. Allegro Molto E Vivace 5. Cavatine For Violin And Orchestra, Op. 69 6. Allegro Moderato Vivace E Con Brio 7. Andante Non Troppo Lento 8. Molto Vivace Allegro 9. Allegro Grazioso CD 2 1. Allegro Appassionato 2. Andante Un Poco Tenuto 3. Menuetto. Allegro Un Poco Vivo 4. Finale. Allegro Fiero, Non Troppo Vivace 5. Cavatine For Cello And Orchestra, Op. 120 6. Allegro Patetico 7. Scherzo. Vivo 8. Adagio Affetuoso 9. Finale. Allegro Decido

• Wykonawca Griffiths Howard
• Data premiery 2015-05-05
• Nośnik CD

Dzieło Giuseppe Verdiego z fenomenalnymi kreacjami Marii Callas, Giuseppe di Stefano i Tito Gobbiego w pełnym nagraniu z roku 1956 z Opery La Scala w Mediolanie. Wydanie zawiera 2 płyty CD z ponad 130 minutami muzyki. Tracklista: CD 1 1. Prelude (Orchestra) 2. Posa In Pace, A' Bei Sogni Ristora (Officers, Gentlemen, Samuel, Tom, Henchmen) 3. S'avanza Il Conte (Oscar, Riccardo) 4. La Rivedra Nell'estasi (Riccardo, Oscar, Officers, Gentlemen, Samuel, Tom) 5. Il Cenno Mio Di La Con Essi Attendi (Riccardo, Oscar, Renato) 6. Alla Vita Che T'arride (Renato) 7. Il Primo Giudice (Oscar, Riccardo, Judge, Renato, Samuel,Tom,Henchm) 8. Volta La Terrea (Oscar,Riccardo,Judge,Renato,Samuel,Tom,Henchmen) 9. Ogni Cura Si Doni Al Diletto (Riccardo,Renato,Oscar,Samuel,Tom,Henchmen,Officer) 10. Zitti...l'incanto Non Dessi Turbare (Women, Children) 11. Re Dell'abisso, Affrettati (Ulrica) 12. Arrivo Il Primo! (Riccardo, Women, Ulrica) 13. Su, Fatemi Largo, Saper Vo' Il Mio Fato (Silvano, Ulrica, Riccardo, Chorus, Servant) 14. Che V'agita Cosi? (Ulrica, Amelia, Riccardo) 15. Della Citta All'occaso (Ulrica, Amelia, Riccardo) 16. Consentimi, O Signore (Amelia, Ulrica, Ricardo, Chorus) 17. Su, Profetessa, Monta Il Treppie (Chorus, Oscar, Riccardo) 18. Di' Tu Se Fedele (Riccardo, Chorus) 19. Chi Voi Siate, L'audace Parola (Ulrica, Riccardo, Samuel, Oscar, Chorus) 20. E Scherzo Od E Follia (Riccardo, Ulrica, Samuel, Tom, Oscar, Chorus) 21. Finisci Il Vaticinio (Riccardo,Ulrica,Chorus,Samuel,Tom,Reanto,Silvano) 22. Prelude (Orchestra) 23. Ecco L'orrido Campo Ove S'accoppia (Amelia) 24. Ma Dall'arido Stelo Divulsa (Amelia) 25. Teco Io Sto (Riccardo, Amelia) 26. Non Sai Tu Che Se L'anima Mia (Riccardo, Amelia) 27. M'ami, M'ami!...oh, Qual Soave Brivido (Riccardo, Amelia) CD 2 1. Ahime! S'appressa! (Amelia, Riccardo, Renato) 2. Amico, Gelosa T'affido Una Cara (Riccardo, Renato) 3. Odi Tu Come Fremono Cupi (Amelia, Renato, Riccardo) 4. Seguitemi (Renato, Amelia, Chorus, Samuel, Tom) 5. Ve', Se Di Notte Qui Colla Sposa (Samuel, Tom, Renato, Amelia, Chorus) 6. A Tal Colpa E Nulla Il Pianto (Renato, Amelia) 7. Morro, Ma Prima In Grazia (Amelia) 8. Alzati? La Tuo Figlio (Renato) 9. Eri Tu Che Macchiavi Quell'anima (Renato) 10. Siam Soli, Udite (Renato, Tom, Samuel) 11. Dunque L'onta Di Tutti Sol Una (Renato, Tom, Samuel) 12. D'una Grazia Vi Supplico (Renato, Samuel, Tom, Amelia) 13. Qual' E Dungue L'eletto? (Renato, Samuel, Amelia, Tom) 14. Il Messaggio Entri (Renato, Oscar, Amelia, Samuel, Tom) 15. Ah! Di Che Fulgor, Che Musiche (Oscar, Amelia, Rentato, Samuel, Tom) 16. Forse La Soglia Attinse (Riccardo) 17. Ma Se M'e Forza Perderti (Riccardo) 18. Ah! Dessa E La (Riccardo, Oscar) 19. Fervono Amori E Danze (Chorus, Samuel, Renato, Tom, Oscar) 20. Saper Vorreste (Oscar) 21. Fervono Amori E Danze (Chorus, Renato, Oscar) 22. Ah! Perche Qui! Fuggite (Amelia, Riccardo) 23. E Tu Ricevi Il Mio! (Renato, Riccardo, Amelia, Oscar, Chorus) 24. Ella E Pura: In Braccio A Morte (Riccardo, Amelia, Oscar, Renato, Chorus)

• Wykonawca Maria Callas , Gobbi Tito , Giuseppe di Stefano , di Stefano Giuseppe
• Data premiery 2012-08-01
• Nośnik CD

Płyta prezentuję wykonane utwory poważne przez Marek Kudlicki na organach i jest zatytułowana: „The Historic Organ of the Basilica of St. Andrew in Olkusz”

• Wykonawca Kudlicki Marek
• Data premiery 2013-10-26
• Nośnik CD

Tracklista: CD 1 1. Piano Concerto No. 1 in C Minor, Op. 35 2. Andante 3. Allegro 4. Piano Concerto No. 1 in C Minor, Op. 35 5. Andante 6. Menuetto 7. Piano Concerto No. 1 in C Minor, Op. 35 8. Allegro Ma Non Troppo 9. Andante 10. Scherzo (Allegretto) 11. Allegro Giusto CD 2 1. Moderato 2. Andante Un Poco Mosso 3. Scherzo (Allegro Vivace) 4. Rondo (Allegro Vivace) 5. Allegro 6. Con Moto 7. Scherzo (Allegro Vivace) 8. Rondo (Allegro Moderato) CD 3 1. Molto Moderato E Cantabile 2. Andante 3. Menuetto (Allegro Moderato) 4. Allegretto 5. Allegro Giusto 6. Andante 7. Allegro Vivace CD 4 1. Allegro 2. Adagio 3. Menuetto (Allegro) 4. Allegro 5. Molto Moderato 6. Andante Sostenuto 7. Scherzo (Allegro Vivaco Con Delicatezza) 8. Allegro Ma Non Troppo CD 5 1. Allegro 2. Andantino 3. Scherzo (Allegro Vivace) 4. Rondo (Allegretto) 5. Allegro Ma Non Troppo 6. Allegretto Quasi Andantino 7. Allegro Vivace

• Data premiery 2011-10-17
• Nośnik CD

Johann Sebastian Bach’s six suites for solo cello are well-known and beloved works that are central to the repertoire of any cellist or violist. However, they are also works fraught with uncertainties, ranging from the circumstances of their composition to performance practices. It is not known when, why or for whom the suites were composed, or even for exactly which instrument they were intended. Further questions bedevil performance choices. What did Bach intend in the way of bowings and articulation? Did he have French or Italian bowing practices in mind?The first surviving copy of the suites, by Johann Peter Kellner, was made in 1726, so the suites must have been composed before then. It seems reasonable to assume that Bach wrote them around 1720 in Cöthen, at about the same time as the six sonatas and partitas for solo violin, but there is no hard evidence to support this. Anner Byslma speculates that the suites might have been composed earlier, and there is no compelling reason to assume that all of the suites were composed at the same time. Even the seemingly straightforward designation of suites as being for “violoncello” is problematic. The word “violoncello” could refer to instruments of different sizes and playing techniques in the early 18th century. The cello as we now know it emerged in Italy around the 1660s, with its size standardized by Stradivarius at the beginning of the 18th century. In Bach’s day, “violoncello” could refer to the older, larger instruments or to the smaller instruments on the Stradivarius model, as well as to the so-called violoncello da spalla (or viola da spalla), an instrument slung over the shoulder and played with something closer to violin technique than to cello technique. Furthermore, not all of the suites are intended for the same instrument. The Sixth Suite requires a five string instrument, which could either be a five-string cello held between the legs (perhaps a violoncello piccolo), or a five-string violoncello da spalla. Bach included prominent parts for a “violoncello piccolo” in a number of his cantatas written in Leipzig between 1724 and 1725. For some of these cantatas, the violoncello piccolo lines are either written in treble clef, or contained in the first violin part, suggesting that they were played by a violinist, on a cello slung from the shoulder. As Mark M. Smith argues, it seems quite possible that the Sixth Suite was written at the same time (possibly for the same player and instrument), and also intended be played on a shoulder-slung instrument.Any attempt to guess the circumstances under which the suites were composed is contingent upon the above uncertainties. If Bach did compose the suites around 1720, and if he did intended them (or at least the first five of them) for a cello held between the legs, then, as David Ledbetter suggests, he might very well have composed them for Christian Bernhard Linike, an excellent cellist who arrived in Cöthen shortly before Bach did. If they were intended for a shoulder cello, then perhaps Bach, who played violin and viola, played them himself.In addition to these problems, no doubt the most troubling circumstance for the performer is that we have no manuscript for the suites in Bach’s own hand. All published editions are based on some combination of 18th century copies. The sources differ significantly in terms of bowings and articulations, and occasionally even disagree about pitches. The copy with the most biographical authority is that made by Anna Magdalena Bach, sometime between 1727 and 1731, but she was not a string player, and a comparison between her copy of the solo violin sonatas and partitas and Bach’s own manuscript shows her to have been neither precise nor unambiguous in her labors.These are suites for some sort of cello, but, as Bylsma points out, it is entirely possible that Bach played them for himself on the viola. Bylsma even finds some chords and string-crossings that fit the hand of a violist better than that of a cellist. The cello suites have been part of the viola repertoire since the beginning of the 20th century. In 1916 G. Schirmer published a viola transcription edited by Louis Svecenski (principal violist of the Boston Symphony Orchestra, and violist of the Kneisel Quartet), following it with another edition by Samuel Lifschey (principal violist of the Philadelphia Orchestra for thirty years) in 1936. Although she did not publish an edition of the Bach Suites, Lillian Fuchs was instrumental in making the suites part of the standard concert and pedagogical repertoire for violists through her advocacy as a performer and as a teacher, much as Pablo Casals had done for cellists. A number of other transcriptions followed after the Second World War, including one by Milton Katims who had worked with Casals at the Prades Festival. Until fairly recently, viola editions were heavily edited, with bowings and dynamics added liberally to facilitate expressive performances in the Casals and Fuchs manner.Helen Callus plays from the critical edition prepared for Peters by Simon Rowland-Jones, but has made her own decisions about articulations, dynamics and ornamentation based on the original sources. She plays the Fifth Suite with the scordatura tuning requested by Bach, tuning her top string down from A to G (this suite can be played with a normally-tuned instrument, but at the expense of leaving some notes out of Bach’s chords and of different timbres for some notes). Callus plays the Sixth Suite in G major, rather than Bach’s D major. Although this involves changing Bach’s key, it also means that the viola version is closer in tessitura to Bach’s original than it would be in D major (a fourth higher rather than an octave), and it allows for more of Bach’s effects with open strings to be preserved.Recorded on September 19, 21 and 23, 2010 at: Salle Francoys-Bernier, Domaine Forget

• Wykonawca Callus Helen
• Data premiery 2011-03-01
• Nośnik CD

Compact Disc 1 (1876–79)Biryul’ki (Spillikins) Op.2 (1876)1 Presto 0’522 Allegro 0’303 Allegretto 1’054 Allegro con fuoco 1’165 Vivace 1’006 Allegro 0’387 Moderato 0’368 Allegro moderato 0’509 Allegretto tranquillo 1’5610 Allegro 0’5111 Tempo di valse 0’5812 Prestissimo 0’3913 Vivace 0’3514 Zaklyuchenie (Coda): Presto 1’243 Pieces Op.3a (1876)15 Prelude in D 1’2316 Gigue in F 2’0517 Fugue in G minor 3’053 Mazurkas Op.3b (1877)18 No.1 in G 2’3619 No.2 in B 2’4820 No.3 in C 1’46Arabesques Op.4 (1878)21 No.1 in C sharp minor 1’2522 No.2 in A 5’0423 No.3 in B flat 2’4924 No.4 in E 3’1725. 24 Variations and Finale on a Simple Theme for piano 4 hands 6’49 (in collaboration with Cui and Rimsky–Korsakov) (1878)*°4 Paraphrases on a Simple Theme, for piano 4 hands (1878–79)26 Valse 1’5327 Galop 1’0328 Gigue 0’4729 Cortège triomphal 2’29Total time: 52’37Compact Disc 2 (1881–89)1 Etude in A flat Op.5 (1881) 2’522 Impromptu in D Op.6 (1881) 1’322 Intermezzi Op.7 (1881)3 No.1 in D 2’534 No.2 in F 2’292 Intermezzi Op.8 (1883)5 No.1 in B flat 2’206 No.2 in B flat 3’062 Pieces Op.9 (1883)7 Valse in F sharp 1’488 Mazurka in A flat 3’063 Pieces Op.10 (1884)9 Prelude in D flat 1’2910 Mazurka in C 2’2211 Mazurka in D 2’553 Pieces Op.11 (1885)12 Prelude in B minor 2’5713 Mazurka in the Dorian Mode 2’0714 Mazurka in F sharp minor 3’2215 Etude in E Op.12 (1886)° 2’0116 Velichaniye (Song of Praise) for piano 4 hands (1887)*° 3’494 Preludes Op.13 (1887)17 No.1 in G 2’0118 No.2 in B flat 1’0119 No.3 in A 1’4520 No.4 in F sharp minor 1’302 Mazurkas Op.15 (1887)21 No.1 in A 1’0822 No.2 in D minor 1’222 Nabroska (Sketches) Op.17 (1887)°23 Stradaniye (Suffering) 1’5524 Pastorale 1’4525 Novinka (Novellette) Op.20 (1882–89)° 2’54Total time: 56’30Compact Disc 3 (1889–1893)1 Shestviye (Procession) (1889)° 1’242 Pro starinu (About Olden 4’09Times) Op.21, Ballade (1889)3 Bagatelle in D flat Op.30 2’07(1889)3 Pieces Op.33 (1889)4 Prelude (on a Russian Theme) 1’065 Grotesque (on a Cheremissian 1’08Theme)6 Pastorale 2’397 Na luzhayke, nabrosok 4’01(In the Glade, Sketch) Op.23(1890)°2 Pieces Op.24 (1890)8 Prelude in E 2’209 Kolïbel’naya (Berceuse) in G flat 4’19Shutka–Kadril’ (Quadrille–Joke)for piano 4 hands (1890)*°10 Pantalon (Artsibushev) 1’2211 Été (Vitols) 1’1312 Poule (Lyadov) 1’1513 Trénis (Sokolov) 0’3514 Pastourelle (Glazunov) 0’5915 Finale (Rimsky–Korsakov) 1’2616 Idylle Op.25 (1891) 6’1017 Malenkiy Val’s (Little Waltz) 2’27Op.26 (1891)3 Preludes Op.27 (1891)18 No.1 in E flat 1’3219 No.2 in B 1’3120 No.3 in G flat 1’2321 Kukolki (Marionettes) Op.29 5’39(1892)2 Pieces Op.31 (1893)22 Derevenskaya mazurka 4’43(Rustic Mazurka) in G23 Prelude in B flat minor 2’0424 Muzïkal’naya tabakerka 2’10(A Musical Snuffbox) Op.32(1893)Total time: 57’44Compact Disc 4 (1893–1898)1 Slavleniya (Celebration) 1’10for piano 4 hands* (1893)°3 Canons Op.34 (1894)°2 No.1 in G 0’333 No.2 in C minor 1’104 No.3 in F 1’345 Variations on a Theme by 15’22Glinka Op.35 (1894)6 Prelude-Pastorale in A (1894)° 2’083 Preludes Op.36 (1895)7 No.1 in F sharp 0’458 No.2 in B flat minor 1’039 No.3 in G 0’5810 Etude in F Op.37 (1895) 1’3611 Mazurka in F Op.38 (1895)° 3’244 Preludes Op.39 (1895)12 No.1 in A flat 1’1313 No.2 in C minor 1’4014 No.3 in B 1’3015 No.4 in F sharp minor 1’4216 Sarabande in G minor (1895)° 3’15(ornamented repeats byMarco Rapetti)2 Fugues Op.41 (1896)°17 No.1 in F sharp minor 2’5518 No.2 in D minor 1’5219 Prelude in F Op.posth. (1897)° 0’3920 Etude in C sharp minor 2’01Op.40a (1897)3 Preludes Op.40b (1897)21 No.1 in C 1’1722 No.2 in D minor 1’2523 No.3 in D flat 1’272 Preludes Op.42a (1898)24 No.1 in B flat 0’5825 No.2 in B 0’4826 Mazurka on Polish themes 2’15in A Op.42b (1898)27 Barcarolle in F sharp Op.44 4’22(1898)Total time: 59’08Compact Disc 5 (1899–1913)Variations on a Russian Folk Theme (1899)°1 Theme (Lyadov) 0’322 Var. I (Rimsky–Korsakov) 0’323 Var. II (Winkler) 0’434 Var. III (Blumenfeld) 1’005 Var. IV (Sokolov) 2’166 Var. V (Vitols) 0’427 Var. VI (Lyadov) 1’298 Var. VII (Lyadov) 0’249 Var. VIII Finale alla polacca (Glazunov) 2’514 Preludes Op.46 (1899)10 No.1 in B flat 0’5511 No.2 in G minor 0’4612 No.3 in G 0’2913 No.4 in E minor 1’5914 Slava (Glory) Op.47 for 2 pianos 8 hands (1899)**° 2’0515 Etude in A Op.48a (1899)° 2’2316 Canzonetta in B flat Op.48b (1899)° 2’2117 Prelude in D flat Op.57 No.1 (1900) 2’2018 Variations on a Polish Folk Theme Op.51 (1901) 12’063 Baletnikh nomera (Ballet Numbers) Op.52 (1901)°19 No.1 in E flat 2’2120 No.2 in C 1’1721 No.3 in A 2’313 Bagatelles Op.53 (1903)22 No.1 in B 0’2923 No.2 in G 0’4124 No.3 in A flat 1’0225 Valse in E Op.57 No.2 (1905) 1’5326 Mazurka in F minor Op.57 No.3 (1905) 1’214 Pieces Op.64 (1909)27 Grimasa (Grimace) 0’3628 Sumrak (Gloom) 1’5129 Iskusheniye (Temptation) 1’5830 Vospominaniye (Reminiscence) 1’0531 Tanets Komara (Mosquito’s Dance), Russian folksong (1911)° 0’4932 10 Detskikh pesen (Children’s Songs) Op.posth. for piano 4 and 2 hands*° 3’2133 Scherzo (Chorus) in B minor Op.posth.° 0’4634 Fuga on LA–DO–FA (1913) Op.posth.° 0’44Total time: 58’42

• Wykonawca Rapetti Marco
• Data premiery 2011-11-30
• Nośnik CD

Komplet znakomitych nagrań Sonat Mozarta w wykonaniu Friedricha Gulda dostępny na 5 płytach CD plus dodatkowy bonusowy dysk z interpretacjami pozostałych utworów kompozytora nagranych przez pianistę w latach 1955-1997.

• Wykonawca Gulda Friedrich
• Data premiery 2009-11-13
• Nośnik CD