Tracklista: 1. Harnasie (The Highland Robbers), Ballet Pantomime For Tenor, Chorus & Orchestra, Op. 55, M68 28:35 2. Mandragora, Ballet Pantomime, Op. 43, M45 23:28 3. Etudes (4) For Piano, Op. 4, M3: Etude In B Flat Minor, Op.4 No.3 5:25
Chorał gregoriański ze źródeł benedyktyńskich na Święto Objawienia Pańskiego, śpiewany przez braci dominikanów z konwentów św. Trójcy w Krakowie i św. Józefa w Warszawie Kantor: Marcin Bornus - Szczyciński Tracklista: Missa 1. Ecce advenit (introit) 5:30 2. Omnes de Saba venient (graduale) 3:32 3. Alleluia 3:08 4. Reges Tharsis (offertorium) 2:13 5. Vidimus stellam (communio) 1:48 6. Benedicamus Domino 2:52 Matutinum 7. Deus, in adjutorium 1:31 8. Christus apparuit nobis (invitatorium) 9:43 9. Hostis Herodes impie (hymnus) 3:54 10. Illuminare (responsorium) 3:07 11. Omnes de Saba venient (responsorium) 2:35 12. Magi veniunt ab oriente (responsorium) 3:22 13. Cum natus esset (lectio VII, Evangelium Mt 2, 1-2 1:18 14. Stella, quam viderant (responsorium) 2:56 15. Videntes stellam (responsorium) 3:21 16. Tria sunt munera (responsorium) 4:33 17. Te Deum 7:47
This disc is the second of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of the Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety. In the case of this disc it is a grouping of Mädchenlieder from various opus numbers that was apparently envisaged by Brahms, and published after his death by Simrock in order to fulfil the composer’s wishes. In this series the folksongs of 1894 are will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire occasion was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.
Since early mediaeval times, the characteristic church services held in the Catholic Church have incorporated the prayer times of the Officium on Holy Thursday, Good Friday and Holy Saturday, particularly the Matins. These services were originally held in the early hours of the morning but were in later centuries transferred to the afternoon of the previous day. Each of these Matins consisted of three nocturnes in which Psalm recitations alternate with readings from the Lamentations of the prophet Jeremiah and texts by the theological teacher St Augustine and responses. Over the course of time, the settings of these texts became progressively more elaborate in their polyphony. The popularity of these Matins in Catholic Europe, particularly up to the end of the eighteenth century, was however not limited to their frequently rich musical design; the names given to these services such as “Pumpermetten” or “Finstermetten” accompanied by the customs of hammering on the church pews or the gradual extinguishing of the candles are testament to a great folk tradition. August the Strong’s conversion to Catholicism created a demand for ceremonial church services to cele-brate Holy Week at the court chapel in Dresden and Jan Dismas Zelenka was commissioned to compose the appropriate music. Zelenka wrote six Lamentationes Jeremia Prophetae ZWV 53 (of which only the firs lamentation is included on this CD) and the 27 Responsoria pro hebdomada sancta ZWV 55.The Collegium 1704 and Collegium Vocale 1704 under the direction of Vaclav Luks have produced a pair of extensive CDs with the firs complete recording of the nine nocturnes of Holy Week within their liturgical context with all lessons in church modes, the Gregorian antiphons and the entire collection of 27 responses from the Responsoria pro hebdomada sancta ZWV 55, conjuring up a comprehensive impression of the celebrations of Holy Week at the Dresden court chapel during the 1720s.
DVD zawiera prezentację Vladimira Ashkenazy jako wirtuoza fortepianu, batutmistrza, dyrektora muzycznego i wybitnego muzyka. Wraz z Christopherem Nupem mają w swoim dorobku artystyczny 26 produkcji z których kilka zostało nagrodzone. Dostajemy tutaj obraz najbardziej skrytego artysty na świecie. Na płycie zawarty jest film portretowy "Vladimir Ashkenazy: The Vital Juices Are Russian", wraz ze zmontowanymi sekwencjami z filmu Christophera Nupena z Vladimirem Ashkenazy jako dyrygentem w spektaklu opartym na "Corelli Variations" Rachmaninowa, która dotychczas nie była opublikowana. Na płycie usłyszymy również samego Ashkenazy, który w mini wywiadzie, zwięźle opowiada o muzycznych prezentacjach i ich pochodzeniu.
Wyjątkowa ekspresja muzyki Galiny Ustwolskiej (1919-2006) przemawia do słuchacza niezwykle bezpośrednio, a jednocześnie czaruje pełnym niuansów brzmieniem, zdecydowanym, pełnym energii rytmem będącym świadectwem niewyczerpanej inwencji tej artystki. Dumnie niezależna, Ustwolska utrzymuje, że jej muzyka brzmi w sposób zdecydowanie odmienny od muzyki jakiegokolwiek innego kompozytora, żyjącego czy zmarłego i pozostaje z dala od wszelkich “szkół”. Jej dzieło, jak mówił Victor Suslin, ma “przenikliwość promienia laserowego, który może przebić metal. Jej rodzaj koncentracji ma w sobie coś dzikiego. Wejście w ten świat muzyczny wymaga specjalnego rodzaju przekonania i intensywności.
Zespół Dmitri Ensemble pod dyrekcją Grahama Rossa wykonuje kwartety Dymitra Szostakowicza nr 1, 8 i 10. Kwartety te funkcjonują jako "symfonie kameralne" w aranżacji Rudolfa Barszaja.
Live recording from Fulda Cathedral. 4th CD of the choirs at Fulda Cathedral for querstand label. Contains a colourful program of advent-related music; contains the first part of Handel’s „Messiah“, one of the biggest „hits“ in the history of church music; contains the Magnificat in C by Christoph Graupner, a composer which is not in the focal point of today’s musical world although he was very popular in his times and wrote about 2000 church music works.
Kompozycje Augustyna są tym trudniejsze do zaszufladkowania, że wymykają się wszelkim kanonom poprawności – ani to postsocrealizm w wydaniu sakralnym bądź narodowym, ani hołubiony mainstream muzyki współczesnej. Co gorsza, jeśli wsłuchać się głębiej w dowolny utwór Augustyna – w nadziei, że uda się w nim wytropić nieomylne znamię stylu – już po chwili czeka nas niespodzianka.Augustyn do tego wszystkiego ma jeszcze poczucie humoru i rzadko mu się zdarza chwytać za pióro bez anegdoty.