
Tracklista:
- Wykonawca Czech Ensemble Baroque Orchestra and Choir
- Data premiery 2017-01-20
- Nośnik CD
- Muzyka poważna / Dawna
- 17-08-2019, 16:06
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Tracklista:

Pochodzący z Hiszpanii wybitny kompozytor Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola, urodzony w 1806 roku, zmarł w 1826 roku. Artysta posiada przydomek „hiszpańskiego Mozarta”, ponieważ analogicznie jak Mozart kompozytor był „cudownym dzieckiem”, oraz bardzo młodo zmarł. Podróż muzyczną zaczął wraz z ojcem i starszym bratem, którzy byli jego nauczycielami. Album został wydany przez wytwórnię Alto (ALC 1294).

Symfonia nr 18 rosyjskiego kompozytora polskiego pochodzenia Mieczysława Weinberga. Na płycie także jest nagrany koncert na trąbkę. Wykonawcy to Andrew Balio - trąbka oraz zespoły St Petersburg Chamber Chorus i St Petersburg State Symphony Orchestra pod dyrekcją Vladimira Lande.

Wybitny kompozytor pochodzący z Rosji Dmitrij Dmitrijewicz Szostakowicz, urodzony w 1906 roku w Sankt Petersburgu. Zmarł w 1975 roku w Moskwie. Prócz komponowaniem zajmował się również grą na pianinie i był pedagogiem. Artysta postrzegany jest jako najwybitniejszy symfonik XX wieku. Album został wydany przez wytwórnię Pentatone (PTC 5186331). Tracklista: 1. Symphony No. 15 in A, Op. 141 (1971) 2. Hamlet A Selection From The Incidental Music, Op. 32 (1931)

Muzycy: Eleni Karaindrou - fortepian Savina Yannatou - głos Alexandros Botinis - violonczella Stella Gadedi - flet Vangelis Christopoulos - obój Yannis Evangelatos - fagot Dinos Hadjiiordanou - akordeon Aris Dimitriadis - mandolina Maria Bildea - harfa Album greckiej kompozytorki Eleni Karaindrou czerpie z muzyki stworzonej na potrzeby dwóch wyjątkowych projektów: „Tous des oiseaux”, sztuki teatralnej libańsko-kanadyjskiego pisarza Wajdiego Mouawada oraz „Bomb”, „A Love Story”, filmu irańskiego aktora-reżysera Paymana Maadiego. „Tous des oiseaux”, zdobył wielkie uznanie za odważne zmierzenie się z trudnym tematem tożsamości kulturowej. Sztuka ta otworzyła Karaindrou nowe horyzonty i poszerzyła jej perspektywę. Tymczasem „Bomb”, pierwszy projekt filmowy Eleni od śmierci Theo Angelopoulosa, został nominowany do nagrody APSA za najlepszą muzykę. W obu dziełach słychać kompozycje na orkiestrę smyczkową wzbogaconą o utalentowanych solistów Karaindrou. Producent Manfred Eicher sprawił swoim miksem, że świetliste motywy i aranżacje Karaindrou nabrały konturów i ciągłości.

Tegoroczna płyta jest ostatnim projektem Stowarzyszenia Miłośników Muzyki Chrześcijańskiej Gospel, wieńczącym pięcioletni cykl papieski.

Tracklista: 1. Symphony No. 1, "O Imprevisto": I. Allegro assai moderato 2. Symphony No. 1, "O Imprevisto": II. Adagio 3. Symphony No. 1, "O Imprevisto": III. Scherzo: Allegro vivace 4. Symphony No. 1, "O Imprevisto": IV. Allegro con brio 5. Symphony No. 2, "Ascenção": I. Allegro non troppo 6. Symphony No. 2, "Ascenção": II. Allegretto scherzando 7. Symphony No. 2, "Ascenção": III. Andante moderato 8. Symphony No. 2, "Ascenção": IV. Allegro

The eight overtures by Gioacchino Rossini recorded on this CD were written between 1810 and 1814, and as such cover the early operatic period of the composer, who was born in Pesaro in 1792. Despite his world-wide popularity, primarily thanks to his popular operas, Rossini never managed to rise above the ranking of a musically aesthetic, yet rather second-rate composer, especially in German-speaking countries (in complete contrast to countries such as England and, of course, Italy). Rossini had his German antipode, Beethoven, to thank for this ranking. Both are considered outstanding examples of strongly contrasting "music cultures", which by the way have lost little of their validity right up to the present day. Thus Beethoven represents the symphonic style, exploring the smallest details of every theme and motif, whereas Rossini is considered the exponent of a style which, though decorative, is lacking in content and simply aiming for effect. Take for instance the division between light and serious music, which still exists today in Germany, derived from this very problem. Carl Dahlhaus expressed this contrast in musical aesthetics in the following words: Beethoven‘s scores were portrayals of "sacrosanct musical 'texts', the meaning of which should be disclosed through the interpretations, which should be seen as 'explanations'. On the other hand, a Rossini score is merely a model for a performance, which is given form by the aestheticians in charge as the realization of a design, and not as the interpretation of a text."Disregarding these reflections on musical aesthetics, Rossini was without a doubt the most important operatic composer in the period between Mozart and Verdi. One sees with amazement just how confident the young composer was in his mastery of the sophisticated tone languages of his time. Rossini managed to find his own musical voice at a very early stage. This "voice" is demonstrated superbly in his operatic overtures.Apart from one exception – La cambiale di matrimonio is really more an exponent of the older tradition of the sinfonia – the overtures all have a specific structure typical of Rossini: a slow introduction is followed by a quick main subject with two themes, which is brought to a halt by a ritardando, before a new intonation leads to a coda which outshines all else. But just how does Rossini fill this almost mechanical and pedantic structure he has chosen with musical energy? He links a lively melody to rhythmic vitality and bounces simple harmonic patterns off sudden humorous and surprising modulations. The motivic material, which is generally simple, is not subjected to symphonic development. Instead, by simply ordering the individual elements, Rossini creates a more extensive construction of areas of relaxation and tension, which achieve a spacious effect. In this context, the crescendi should be interpreted in the spirit intended by the composer: their typically characteristic features include simple metrical models, rousing melodies, sequential passages and the alternation of dynamics and instrumentation with radiant intensifications. Not without justification was Rossini fêted as "Monsieur Crescendo" upon his arrival in Paris. His instrumentation contains especially individual traits: in the first place, the solo entry of the winds, which can be discerned most strikingly in the horn soli in La cambiale di matrimonio. Besides, some of Rossini‘s very best ideas can be found in his overtures: such as the perpetuum mobile in La scala di seta or the violin bows striking the music stands in the overture to Il Signor Bruschini. The overtures do not contain much – if any – similarity to the ensuing operatic plots, as far as theme or programme content are concerned. This explains why Rossini made multiple use of some pieces, such as the overture to Il barbiere di Siviglia, which he had originally written for Aureliano in Palmira, or the introduction to Tancredi, which he borrowed from his La pietra del paragone, without making a single change.

Przedstawienie najwybitniejszej polskiej opery XX wieku - "Króla Rogera" Karola Szymanowskiego z londyńskiej Royal Opera House. Wykonawcy to soliści - Mariusz Kwiecien, Georgia Jarman i Saimir Pirgu oraz zespoły Royal Opera Chorus i Orchestra of the Royal Opera House pod dyrekcją Antonia Pappano.

Tracklista: 1. Santa Claus Is Coming to Town2. Jingle Bells3. Here Comes Santa Claus4. Do You Want to Build a Snowman?5. Winter Wonderland6. Sleigh Ride7. White Christmas8. Frosty the Snowman9. It's Beginning to Look a Lot Like Christmas10. I Can't Wait for Christmas Day11. Silent Night12. Let It Snow13. All I Want for Christmas Is My Two Front Teeth14. Rockin' Around the Christmas Tree15. Rudolph the Red Nosed Reindeer16. The Twelve Days of Christmas17. Little Drummer Boy18. The Christmas Song19. Have Yourself a Merry Little Christmas20. We Wish You a Merry Christmas