Tracklista: LP 1 1. Attack Of The Vapours 2. Lemon Kush 3. Flying Machines 4. Knurl 5. Lost In The Sky LP 2 1. Paper Monkeys 2. Plowm 3. Will Of The Wisps 4. Air City
Najnowszy album sopranistki, Patricii Petibon, zrealizowany dla wytwórni Deutsche Grammophon zawiera skarby muzyki barokowej, które z powodzeniem trafią zarówno do ucha wytrawnego melomana, jak i zwykłego odbiorcy.Nouveau Monde symbolizuje podróż ze starego do Nowego Świata, urokliwe arie, pieśni i inne formy kompozytorów europejskich (Charpentier, Handel, Rameau, Purcell), które są świadectwem fascynacji twórców egzotyką nowo odkrytego lądu, a szczególnie rytmiką i energią ludowych pieśni Ameryki Południowej.Ze świetnym towarzyszeniem La Certa Baroque Orchestra pod dyrekcją Andrei Marcona – który jest również pianistą i organistą barokowym – Petibon zachwyca mieszanką siedemnastowiecznych arii i piosenek ludowych z Anglii, Francji, Hiszpanii i Ameryki Łacińskiej.W niektórych utworach zagrali zaproszeni instrumentaliści, brzmienie ich instrumentów znacznie wzbogaciło kolorystykę całości.
Diva wczechczasów – Maria Callas – powraca na scenę dzięki najnowocześniejszej holografii cyfrowej i technologii laserowej. Warner Classics prezentuje album z nagraniami, które pojawią się w tej niezwykłej trasie koncertowej. Inicjatorem tego niezwykłego przedsięwzięcia jest Base Hologram, firma wiodąca w produkcji widowisk wykorzystujących technologię holograficzną. Ich pomysł pozwala nam współcześnie oglądać słynną divę taką, jaką pokochał cały świat.
4 pierwsze albumy Daniela Hope’a nagrane dla Deutsche Grammophon. W książeczce znalazło się słowo wstępne samego artysty, a w zestawie pojawiają się 3 nigdy wcześniej niewydane nagrania.
Symfonia nr 2 i poemat symfoniczny "Karelia" Jeana Sibeliusa w wykonaniu New Zealand Symphony Orchestra pod dyrekcją Pietari Inkinena.
Tracklista: 1. Sonata a tré, viola di gamba, violoncello e basso continuo in do minore: I. Largo 2. Sonata a tré, viola di gamba, violoncello e basso continuo in do minore: II. Presto 3. Sonata a tré, viola di gamba, violoncello e basso continuo in do minore: III. Grave 4. Sonata a tré, viola di gamba, violoncello e basso continuo in do minore: IV. Presto 5. Salmo XIV — «O Signor, chi sara mai»: O Signor, chi sara mai 6. Salmo XIV — «O Signor, chi sara mai»: Chi? Quegli solo 7. Salmo XIV — «O Signor, chi sara mai»: Chi ha ’l cor sincero 8. Salmo XIV — «O Signor, chi sara mai»: Odekha ki ’anitani 9. Salmo XIV — «O Signor, chi sara mai»: Cui l’empio e maligno 10. Salmo XIV — «O Signor, chi sara mai»: Chi inviolabile 11. Salmo XIV — «O Signor, chi sara mai»: A chiunque tal sia d’alzarsi lice 12. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Volgi, mio Dio, deh volgi un de’ tuoi guardi 13. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Le grida de’ delitti al di cui peso 14. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Nel giorno ognor ti chiamo e non mi senti 15. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: E pur tu quello sei che nell’eccelso 16. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: A me sol tocca una diversa sorte. Or ch’egli spera. Ma, grande alto Signor, tu sei pur quegli 17. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Quai giovenchi feroci i miei nemici. Il mio vigor com’acqua si dissolve. Gia dalle fauci per la sete ond’ardo. Quai feroci mastin pieni di rabbia 18. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Forar le mani mie, foraro i piedi 19. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Shofet kol ha’aretz 20. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Signor, non tardi dunque il tuo soccorso 21. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Di costoro al furor, mio Dio, mi togli 22. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Ma so ben io che a’ miei fratelli in breve 23. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: La stirpe d’Israello il tema e onori 24. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Io dunque, alto Signor, tue laudi eccelse 25. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Di si gran maraviglie eternamente. Con riverente tributaria fede 26. Salmo XXI — «Volgi, mio Dio, deh volgi un de’ tuoi guardi»: Annunziato alle future genti. La giustizia di lui faran ben chiara 27. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: In mezzo alle miserie ond’io son cinto 28. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Quindi alla lingua un aspro e duro freno 29. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: In silenzio mi giacqui, umil rimasi 30. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Ma invano ormai tento frenar mia lingua 31. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: In fatti ogn’uom che vive in sulla terra 32. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Egli, né sa per chi, tesori aduna. Se a tanto incerte e labili vicende. Si, tu solo, o mio Dio 33. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Signor, ti piaccia intanto 34. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Sotto la grave forza 35. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Quindi la gloria mia, la mia fortezza 36. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Placati dunque, mio Signor, e rendi 37. Salmo XXXVIII — «In mezzo alle miserie ond’io son cinto»: Si vegga in calma e di letizia adorno 38. Salmo XXVII — «A te, Signor, che mio sostegno sei»: A te, Signor, che mio sostegno sei A due 39. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Mentre ti prego e le mie mani io stendo A due 40. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Deh non lasciar che fra la turba insana Canto 41. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Suonan sul labro lor voci di pace Alto 42. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Eguale a l’opre loro, a’ rei disegni Alto 43. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Giusto fia, grande Iddio, che tu gli atterri A due 44. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Poiché questa superba ed empia gente Alto 45. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Mai sempre viva e benedetto sia A due 46. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Ei m’e scudo e difesa Canto 47. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Questa fidanza di risorger tosto Alto 48. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Il grande Iddio del popol suo diletto Canto 49. Salmo XXVII — «A te, Signor, che mio sostegno sei»: Dunque salvar ti degna A due 50. Salmo XXVII — «A te, Signor, che mio sostegno sei»: E duri eternamente A due
James Ehnes robi sobie przerwę od XIX i XX wiecznego repertuaru, decydując się cofnąć o kilkaset lat, do muzyki włoskiego baroku. Po raz pierwszy w swojej karierze rejestruje cztery z najbardziej znanych Koncertów skrzypcowych - cztery pory roku Vivaldiego, które wraz z sonatami Tartiniego i Lecleira stanowią program płyty.
1.Let It Rain - Pavarotti & Jon Bon Jovi2.Stop - Spice Girls3.How Do I Live - Yearwood, Trisha4.I Hate You Then I Love You - Dion, Celine & Luciano Pavarotti5.Higher Ground - Wonder, Stevie6.O Surdato 'nnammurato - Corrs & Luciano Pavarotti7.Se Bastasse Una Canzona - Ramazzotti, Eros & Luciano Pavarotti8.Betcha Never - Williams, Vanessa9.Viva Forever - Spice Girls & Luciano Pavarotti10.Va Pensiero - Zucchero & Pavarotti11.Napule E - Daniele, Pino & Luciano Pavarotti12.Une Place Pour Moi - Pagny, Florent13.Non Ti Scordar Di Me - Williams, Vanessa & Luciano Pavarotti14.Tonight - Cole, Natalie & Luciano Pavarotti15.Dreams - Corrs16.Adeste Fideles - Yearwood, Trisha & Luciano Pavarotti17.Peace Wanted Just To Be Free - Wonder, Stevie & Luciano Pavarotti
Pierwszy z dwóch boxów Maurizio Pollini Collection 2011. Zestaw chopinowskich nagrań pianisty dokonanych w latach 1972-2008 i po raz pierwszy zebranych we wspólnym boxie, z zachowaniem oryginalnych okładek płyt.CD 1FRÉDÉRIC CHOPIN (1810–1849)12 Études op. 101. No. 1 in C major. AllegroC-dur · en ut majeur · in do maggiore2. No. 2 in A minor. Allegroa-moll · en la mineur · in la minore3. No. 3 in E major. Lento, ma non troppoE-dur · en mi majeur · in mi maggiore4. No. 4 in C sharp minor. Prestocis-moll · en ut dièse mineur · in do diesis minore5. No. 5 in G flat major. VivaceGes-dur · en sol bémol majeur · in sol bemolle maggiore6. No. 6 in E flat minor. Andantees-moll · en mi bémol mineur · in mi bemolle minore7. No. 7 in C major. VivaceC-dur · en ut majeur · in do maggiore8. No. 8 in F major. AllegroF-dur · en fa majeur · in fa maggiore9. No. 9 in F minor. Allegro, molto agitatof-moll · en fa mineur · in fa minore10. No. 10 in A flat major. Vivace assaiAs-dur · en la bémol majeur · in la bemolle maggiore11. No. 11 in E flat major. AllegrettoEs-dur · en mi bémol majeur · in mi bemolle maggiore12. No. 12 in C minor. Allegro con fuococ-moll · en ut mineur · in do minore · 12 Études op. 2513. No. 1 in A flat major. Allegro sostenutoAs-dur · en la bémol majeur · in la bemolle maggiore14. No. 2 in F minor. Prestof-moll · en fa mineur · in fa minore15. No. 3 in F major. AllegroF-dur · en fa majeur · in fa maggiore16. No. 4 in A minor. Agitatoa-moll · en la mineur · in la minore17. No. 5 in E minor. Vivacee-moll · en mi mineur · in mi minore18. No. 6 in G sharp minor. Allegrogis-moll · en sol dièse mineur · in sol diesis minore19. No. 7 in C sharp minor. Lentocis-moll · en ut dièse mineur · in do diesis minore20. No. 8 in D flat major. VivaceDes-dur · en ré bémol majeur · in re bemolle maggiore21. No. 9 in G flat major. Allegro assaiGes-dur · en sol bémol majeur · in sol bemolle maggiore22. No. 10 in B minor. Allegro con fuocoh-moll · en si mineur · in si minore23. No. 11 in A minor. Lento - Allegro con brioa-moll · en la mineur · in la minore24. No. 12 in C minor. Molto allegro, con fuococ-moll · en ut mineur · in do minorePierre Boulez (*1925)Piano Sonata No. 210. 1. Extrémement rapide11. 2. Lent12. 3. Modéré, presque vif13. 4. VifCD 2FRÉDÉRIC CHOPIN24 Preludes op. 281. No. 1 in C major. AgitatoC-dur · en ut majeur · in do maggiore2. No. 2 in A minor. Lentoa-moll · en la mineur · in la minore3. No. 3 in G major. VivaceG-dur · en sol majeur in sol maggiore4. No. 4 in E minor. Largoe-moll · en mi mineur · in mi minore5. No. 5 in D major. Allegro moltoD-dur · en ré majeur · in re maggiore6. No. 6 in B minor. Lento assaih-moll · en si mineur · in si minore7. No. 7 in A major. AndantinoA-dur · en la majeur · in la maggiore8. No. 8 in F sharp minor. Molto agitatofis-moll · en fa dièse mineur · in fa diesis minore9. No. 9 in E major. LargoE-dur · en mi majeur · in mi maggiore10. No. 10 in C sharp minor. Allegro moltocis-moll · en ut dièse mineur · in do diesis minore11. No. 11 in B major. VivaceH-dur · en si majeur · in si maggiore12. No. 12 in G sharp minor. Prestogis-moll · en sol dièse mineur · in sol diesis minore13. No. 13 in F sharp major. LentoFis-dur · en fa dièse majeur · in fa diesis maggiore14. No. 14 in E flat minor. Allegroes-moll · en mi bémol mineur · in mi bemolle minore15. No. 15 in D flat major. SostenutoDes-dur · en ré bémol majeur · in re bemolle maggiore16. No. 16 in B flat minor. Presto con fuocob-moll · en si bémol mineur · in si bemolle minore17. No. 17 in A flat major. AllegrettoAs-dur · en la bémol majeur · in la bemolle maggiore18. No. 18 in F minor. Allegro moltof-moll · en fa mineur · in fa minore19. No. 19 in E flat major. VivaceEs-dur · en mi bémol majeur · in mi bemolle maggiore20. No. 20 in C minor. Largoc-moll · en ut mineur · in do minore21. No. 21 in B flat major. CantabileB-dur · en si bémol majeur · in si bemolle maggiore22. No. 22 in G minor. Molto agitatog-moll · en sol mineur · in sol minore23. No. 23 in F major. ModeratoF-dur · en fa majeur · in fa maggiore24. No. 24 in D minor. Allegro appassionatod-moll · en ré mineur · in re minoreCD 31. Polonaise in C sharp minor op. 26 no. 1cis-moll · en ut dièse mineur · in do diesis minoreAllegro appassionato2. Polonaise in E flat minor op. 26 no. 2es-moll · en mi bémol mineur · in mi bemolle minoreMaestoso3. Polonaise in A major op. 40 no. 1A-dur · en la majeur · in la maggioreAllegro con brio4. Polonaise in C minor op. 40 no. 2c-moll · en ut mineur · in do minoreAllegro maestoso5. Polonaise in F sharp minor op. 44fis-moll · en fa dièse mineur · in fa diesis minoreTempo di polacca – doppio movimento, tempo di Mazurka –Tempo I6. Polonaise in A flat major op. 53As-dur · en la bémol majeur · in la bemolle maggioreMaestoso7. Polonaise-Fantaisie in A flat major op. 61As-dur · en la bémol majeur · in la bemolle maggioreAllegro maestosoCD 4Piano Sonata No. 2 in B flat minor op. 35b-moll · en si bémol mineur · in si bemolle minore1. 1. Grave – Doppio movimento2. 2. Scherzo3. 3. Marche funèbre. Lento – attacca:4. 4. Finale. PrestoPiano Sonata No. 3 in B minor op. 58h-moll · en si mineur · in si minore5. 1. Allegro maestoso6. 2. Scherzo. Molto vivace7. 3. Largo8. 4. Finale. Presto, man non tantoCD 51. Scherzo No. 1 in B minor op. 20h-moll · en si mineur · in si minore2. Scherzo No. 2 in B flat minor op. 31b-moll · en si bémol mineur · in si bemolle minore3. Scherzo No. 3 in C sharp minor op. 39cis-moll · en ut dièse mineur · in do diesis minore4. Scherzo No. 4 in E major op. 54E-dur · en mi majeur · in mi maggiore5. Berceuse in D flat major op. 57Des-dur · en ré bémol majeur · in re bemolle maggiore6. Barcarolle in F sharp major op. 60Fis-dur · en fa dièse majeur · in fa diesis maggioreCD 61. Ballade No. 1 in G minor op. 23g-moll · en sol mineur · in sol minoreLargo – Moderato – Presto con fuoco2. Ballade No. 2 in F major op. 38F-dur · en fa majeur · in fa maggioreAndantino – Presto con fuoco – Agitato -Tempo I3. Ballade No. 3 in A flat major op. 47As-dur · en la bémol majeur · in la bemolle maggioreAllegretto4. Ballade No. 4 in F minor op. 52f-moll · en fa mineur · in fa minoreAndante con moto5. Prelude in C sharp minor op. 45cis-moll · en ut dièse mineur á in do diesis minoreSostenuto6. Fantasy in F minor op. 49f-moll · en fa mineur · in fa minoreMarcia. GraveCD 73 Nocturnes op. 91. No. 1 in B flat minor. Larghettob-moll · en si bémol mineur · in si bemolle minore2. No. 2 in E flat major. AndanteEs-dur · en mi bémol majeur · in mi bemolle maggiore3. No. 3 in B major. AllegrettoH-dur · en si majeur · in si maggiore3 Nocturnes op. 154. No. 1 in F major. Andante cantabileF-dur · en fa majeur · in fa maggiore5. No. 2 in F sharp major. LarghettoFis-dur · en fa dièse majeur · in fa diesis maggiore6. No. 3 in G minor. Lentog-moll · en sol mineur · in sol minore2 Nocturnes op. 277. No. 1 in C sharp minor. Larghettocis-moll · en ut dièse mineur · in do diesis minore8. No. 2 in D flat major. Lento sostenutoDes-dur · en ré bémol majeurin re bemolle maggiore2 Nocturnes op. 329. No. 1 in B major. Andante sostenutoH-dur · en si majeur · in si maggiore10. No. 2 in A flat major. LentoAs-dur · en la bémol majeur · in la bemolle maggioreCD 82 Nocturnes op. 371. No. 1 in G minor. Andante sostenutog-moll · en sol mineur · in sol minore2. No. 2 in G major. AndantinoG-dur · en sol majeur · in sol maggiore2 Nocturnes op. 483. No. 1 in C minor. Lentoc-moll · en ut mineur · in do minore4. No. 2 in F sharp minor. Andantinofis-moll · en fa dièse mineur · in fa diesis minore2 Nocturnes op. 555. No. 1 in F minor. Andantef-moll · en fa mineur · in fa minore6. No. 2 in E flat major. Lento sostenutoEs-dur · en mi bèmol majeur · in mi bemolle maggiore2 Nocturnes op. 627. No. 1 in B major. AndanteH-dur · en si majeur · in si maggiore8. No. 2 in E major. LentoE-dur · en mi majeur · in mi maggiore9. Nocturne in E minor op. posth. 72 no. 1Andantee-moll · en mi mineur · in mi minoreCD 91. Ballade No. 2 in F major op. 38F-dur · en fa majeur · in fa maggiore4 Mazurkas op. 332. No. 1 in G sharp minor. Lentogis-moll · en sol dièse mineur á in sol diesis minore3. No. 2 in D major. VivaceD-dur · en ré majeur · in re maggiore4. No. 3 in C major. SempliceC-dur · en ut majeur · in do maggiore5. No. 4 in B minor. Mestoh-moll · en si mineur · in si minore3 Waltzes op. 346. No. 1 in A flat major. VivaceAs-dur · en la bémol majeur · in la bemolle maggiore7. No. 2 in A minor. Lentoa-moll · en la mineur · in la minore8. No. 3 in F major. VivaceF-dur · en fa majeur · in fa maggiore9. Impromptu No. 2 in F sharp major op. 36Fis-dur · en fa dièse majeur · in fa diesis maggiorePiano Sonata No. 2 in B flat minor op. 35b-moll · en si bémol mineur · in si bemolle minore10. 1. Grave - Doppio movimento11. 2. Scherzo12. 3. Marche funèbre. Lento – attacca:13. 4. Finale. Presto
“ Michelangelo, when asked how best to please a Spanish patron, replied ‘show much blood and nails’. These Lamentations capture this rawness with Victoria’s own unique expressivity. If you have been moved by the Victoria Requiem then these Lamentations are for you.” Peter PhillipsGimell Records celebrates its 30th anniversary in 2010. Set up by Peter Phillips and Steve Smith in 1980 solely to record The Tallis Scholars, the Gimell label has gone on to win many awards throughout the world including three Diapson d’Or Awards and four Gramophone Awards, one of which was the Gramophone Record of the Year Award in 1987. They were the first independent label to receive this prestigious award and it is still the only recording of Early Music to do this. Their recording of Josquin's Missa Malheur me bat has also been nominated for a Grammy Award in 2010 in the Best Small Ensemble Performance category.Gimell’s 30th anniversary celebrations will include a number of special CD releases starting with a new recording of the Victoria Lamentations coupled with the Padilla Lamentations. This CD, released in the UK on Monday March 29th 2010 in advance of the Easter season is the 50th recording to be released on Gimell (excluding compilations). All 50 recordings have been produced by Steve Smith and Peter Phillips. Further 30th anniversary recordings will be released later in the year including three 4CD set compilations of “The Best of the Tallis Scholars”, one for each decade, available at budget price. The Tallis Scholars will also perform a 30th anniversary concert (details to be announced later in 2010).On the 30th anniversary, Peter Phillips said: “The creation of Gimell has meant that for 30 years I have been able to record whatever music I wanted. Every one of our fifty releases has been planned, recorded and edited by me and Steve Smith, my loyal producer and co-founder of Gimell Records. This has been a unique privilege for a concert artist - never being asked to cut corners. I am immensely grateful to my singers, our concert agents, and our CD distributors but especially to those hundreds of thousands of supporters worldwide who own a Gimell recording.” The first Gimell recording of the much-loved Allegri Miserere was made on March 22nd and 23rd, 1980, in the Chapel of Merton College, Oxford, renowned for its outstanding acoustics. Some of Gimell’s best-loved recordings have been made in this Chapel, including their acclaimed CD of Tallis's monumental 40-part motet Spem in alium. This new recording was also made in Merton College, where Peter Phillips has also recently been appointed Director of Music for a new Choral Foundation. Victoria’s nine Lamentations contain some of his most intense, mystical and unique music and rank alongside the Requiem as one of his greatest achievements. To quote Peter Phillips:“Michelangelo, when asked how best to please a Spanish patron, replied ‘show much blood and nails’. These Lamentations capture this rawness with Victoria’s own unique expressivity. If you have been moved by the Victoria Requiem then these Lamentations are for you.” As Peter Phillips writes in his sleeve notes, the style of Victoria’s writing for Holy Week is particularly telling, almost defying analysis. “It is this intensity, in the end, which makes him so distinctive, not only in the wider European context but also amongst his compatriots… Of all the great High Renaissance composers, Victoria’s writing can have the most immediately identifiable atmosphere…And the melodies that come from it are elemental, wrapped round the words, striding up and down with incredible purpose. There is not a note wasted …Victoria had achieved his own match of function and expressivity.”Gimell’s 30th anniversary CD also contains Spanish composer Padilla’s six-voice setting of the Lamentations, an impassioned setting of the text and one of his finest achievements.Peter Phillips and The Tallis Scholars have specialised in the performance of Renaissance polyphony since 1973. They have built a reputation for bringing some of the greatest European church music of the 15th and 16th centuries onto the concert platform and into the recording studio. Through their Award-winning recordings and in over 1,600 concerts they have done more than any other group to establish the sacred vocal music of the Renaissance as one of the great repertoires of Western classical music. They are without doubt the leading exponents of Renaissance sacred music and their exploration of the depth and variety of this repertoire has reached a world-wide audience. It is no co-incidence that they were recently awarded the “fourth most influential early music ensemble” by the publication Early Music Today in November 2009.This 30th anniversary CD adds yet another important recording to their already impressive catalogue and is definitely one for both fans of The Tallis Scholars and those new to their music.