Siedemnastowieczna Europa to rozkwit kultu Maryj i duchowości. W związku z tym muzycy, poeci, artyści byli zmuszeniu do komponowania coraz to nowych pieśni, utworów na cześć Maryi. Wszystko musiało być coraz bogatsze i poświęcone Błogosławionej Matce. „Mel Et Lac” to zbiór pieśni poświęconych oczywiście Maryi, pieśni z czasów eksperymentów i innowacji kompozytorskich.
1. I. Allegro moderato 00:11:20 2. II. Poco lento e cantabile 00:09:44 3. III. Presto 00:09:01 4. Phantasy, Op. 54 00:14:12 5. I. Allegro assai 00:10:54 6. II. Grave 00:09:09 7. III. Finale: Allegro giocoso 00:06:58
Tracklista: 1. I. Introduction: Adagio 2. II. Allegro moderato 3. III. Cadenza 4. IV. Andante 5. V. Allegro 6. I. Introduction: Lento 7. II. Allegro moderato 8. III. Adagio 9. IV. Cadenza 10. V. Adagio
‘One player, one instrument, one composer: Bach’s unaccompanied violin music has always been the greatest for any player, young or old. Alina Ibragimova, only 23, is already its equal’ (The Guardian) ‘Alina Ibragimova began to play unaccompanied Bach on the violin, and the hush became silence. This was spontaneous, the first sense that something new could happen’ (The Independent) The dazzling young virtuoso Alina Ibragimova has enthralled audiences for years with her live Bach performances. Critics have acclaimed her faultless intonation, achingly beautiful tone, superlative technique and a musical wisdom far beyond her years. Now, in this important new recording of Bach’s complete sonatas and partitas for solo violin, Ibragimova brings all these qualities and more to create an interpretation that is both excitingly original and profoundly humble. This is music of unfathomable subtlety, astounding virtuosity and great expressive and architectural beauty. SUNDAY TIMES CD OF THE WEEK ; GRAMOPHONE EDITOR'S CHOICE; BBC MUSIC MAGAZINE INSTRUMENTAL CHOICE ; DAILY TELEGRAPH CLASSICAL CD OF THE WEEK; SUNDAY TIMES BEST OF THE YEAR 'She's supremely alert to the idiomatic nuances of each dance … her technical accomplishment is awesome. The D minor Giga scampers along as if mindful of the transcendent monumentality of the Ciaccona lurking around the corner - and when it arrives, Ibragimova tip-toes and soars with aplomb' (BBC Music Magazine) 'Ibragimova reveals herself to be an exquisite interpreter of solo Bach … Her Bach comes as something of a revelation. The finesse we've previously admired in her playing is here combined with thoughtful stylistic awareness and a distinctive, individual approach … All her stylishness and technical refinement is at the service of an ingrained understanding of the music' (Gramophone) 'One baulks at reducing this sublime discourse to adjectives … These solo structures are thin yet monumental, linear yet multilayered, technically specialised yet altogether soul-rending, and she capitalises on every paradox. More simply, her sound is seductive, her virtuosity bracing and every movement a victory … A true enshrining of the violin's soul' (The Sunday Times) 'Alina Ibragimova's previous discs for Hyperion have all been of 20th-century repertoire … All in their different ways were first rate, but none of them gave any inkling of just how startlingly good Ibragimova's solo Bach recordings might be. This is an absolutely compelling set of performances, the kind that have you on the edge of your seat wondering at the freshness of it all and what she might do next. Every phrase in these familiar works seems newly minted, every bar totally alive' (The Guardian) 'Young, excellent and serious, this 24-year old violinist plays with a maturity far beyond her years. In this two CD-set she's right inside the music, whether Bach calls for roaring fire or the tenderest melancholy' (The Times)
1967 proved to be a transitional year, following the death of Wieland Wagner who had run Bayreuth Festival conjointly with his brother Wolfgang since 1951. Wolfgang then ran the festival on his own, until 2008. In his final year on the Green Hill, Rudolf Kempe was completely attuned to the theatre's special acoustics: here is a 'Lohengrin' of supremely subtle sonorities, with several singers making their huge successful house debuts.
Tracklista:Disc 11. Introduction 00:04:59 2. Rien!... En vain j'interroge 00:04:45 3. Ah! Paresseuse fille 00:02:39 4. Mais ce Dieu, que peut - il pour moi 00:05:52 5. O merveille!... 00:03:45 6. Vin ou biere, biere ou vin 00:04:43 7. O sainte medaille 00:03:07 8. Le veau d 'or est toujours debout 00:01:49 9. Merci de ta chanson ! 00:04:33 10. Nous nous retrouverons, mes amis ! 00:01:42 11. Ainsi que la brise legere 00:02:42 12. Ne permettrez - vous pas 00:03:43 13. Faites - lui mes aveux 00:04:43 14. C'est ici ! 00:01:57 15. Que trouble inconnu me penetre!... Salut! demeure chaste et pure 00:06:31 16. Je voudrais bien savoir... Il etait un roi de Thule 00:04:32 17. Les grands seigneurs... Ah! je ris de me voir 00:06:26 Disc 21. Seigneur Dieu, que vois - je 00:05:10 2. Et quoi ! toujours seule 00:04:33 3. Il etait temps! Sous le feuillage sombre 00:01:31 4. Il se fait tard, Adieu! 00:04:14 5. O nuit d' amour!... ciel radieux! 00:04:08 6. Tete folle ! 00:03:54 7. Seigneur, daignez permettre 00:08:48 8. Deposons les armes 00:04:37 9. Allons, Siebel ! entrons dans la maison! 00:02:08 10. Qu' attendez - vous encore... Vous qui faites I'endormie 00:02:57 11. Que voulez - vous, messieurs 00:04:01 12. par ici, par ici, mes amis!... Ecoute - moi bien, Marguerite! 00:06:06 13. Introduction - La prison 00:02:52 14. Va - t - en 00:01:40 15. Mon coeur est penetre d'epouvante! 00:02:16 16. Oui, c' est toi! je t' aime! 00:03:40 17. Alerte! alerte! ou vous etes perdus! 00:02:39 18. Marguerite!... Pourquoi ce regard 00:03:02
Tracklista:1. Ave verum Corpus, motet for chorus, strings & organ, K. 618 3:052. Deep River 5:123. The Lord Bless You and Keep You, for chorus & orchestra 2:464. I'll Walk Beside You 2:345. Stabat mater, for soprano, alto, strings & organ in F major 4:016. Still, Still, Still (Stille, stille, stille) (German) 4:067. Simple Gifts 3:128. How Great Thou Art (Tune: O store Gud) 4:519. Panis angelicus for tenor, organ, harp, cello & bass 3:4110. Bless This House, for chorus & keyboard 2:2211. Ave Verum Corpus 3:2012. The Deer Hunter, film score: She Was Beautiful (Cavatina) 3:3513. The Rose 3:4214. Amazing Grace (Tune: New Britain) 4:0215. Tosturi Duw (God's Mercy), song for voice & organ 3:0516. Morning Has Broken (Tune: Bunessan) 2:3017. Nearer My God to Thee, for voice & piano (or orchestra) 3:5418. Ave Maria, for voice & piano (after Bach's Prelude No. 1 from the Well-Tempered Clavier, Book 1) 2:3519. Send in the Clowns (from the musical "A Little Night Music") 4:5420. God Be With You Till We Meet Again 2:55
Wokalna aranżacja fragmentów słynnego poematu symfonicznego "Peer Gynt" E. Griega. Śpiewa Barbara Hendricks (sopran), a towarzyszy jej Oslo Philharmonic Orchestra pod dyrekcją Esa-Pekka Salonen.
Sonaty triowe na skrzypce i basso continuo włoskiego kompozytora barokowego Arcangelo Corellego w wykonaniu zespołu Ensemble Aurora pod dyrekcją Enrico Gattiego.
Tracklista: 1. Stabat Mater, For Soprano, Alto, Baritone, Chorus & Orchestra, Op. 53, M60: Stala Matka Bolejaça (St 2. Stabat Mater, For Soprano, Alto, Baritone, Chorus & Orchestra, Op. 53, M60: I Któz Widzac Tak Cierpi 3. Stabat Mater, For Soprano, Alto, Baritone, Chorus & Orchestra, Op. 53, M60: O Matka, Zródlo Wszechmi 4. Stabat Mater, For Soprano, Alto, Baritone, Chorus & Orchestra, Op. 53, M60: Spraw, Niech Placze Z To 5. Stabat Mater, For Soprano, Alto, Baritone, Chorus & Orchestra, Op. 53, M60: Panno Slodka, Racz Mozol 6. Stabat Mater, For Soprano, Alto, Baritone, Chorus & Orchestra, Op. 53, M60: Chrystus Niech Mi Bedzie 7. Veni Creator, For Soprano, Chorus, Orchestra & Organ, Op. 57, M67 8. Litany To The Virgin Mary, Fragments (2) For Soprano, Female Chorus & Orchestra, Op. 59, M72 9. Demeter, Cantata For Alto, Women's Chorus & Orchestra, Op. 37bis, M39 10. Penthesilea, For Soprano & Orchestra, Op. 18, M18