Tracklista:1. Glide2. Of a Feather3. Rafters4. Watcher5. Duo6. Flutter7. Flying South8. Head Cut Off9. Nesting10. Caged11. Skitter12. Twin Crested Peaks13. Albatross
Tracklista:1. Plainsong. Dum Sacrum mysterium2. Gloria3. Credo4. Sanctus5. Benedictus6. Agnus Dei7. Magnificat - 7th tone faburden8. O Bone Jesu
Nikolaus Harnoncourt opisuje Requiem Mozarta, jako “intensywnie osobistą konfrontację, przerażającą i poruszającą w sytuacji, gdy uświadomimy sobie, że kompozytor zwykle trzymał swą sztukę daleko od życiowych doświadczeń”. W nagraniu wykorzystano edycję utworu Eulenberga z 1972r, szukając bliższego jeszcze wglądu w oryginalny zamysł kompozytora, zastępuje ona znaną instrumentację Franza Xavera Sussmayra, który uzupełnił i dokończył Requiem po śmierci Mozarta.
Tracklista:1. Farewell my joy2. I have been a foster & Variations3. The time of youth4. Consort XVI5. Maske6. Hornepype7. Uppon La Mi Re8. Where be ye, my lovev9. Consort IX, X, XXI10. La bell fyne11. Kyng Henry the VIII Pavyn & Gaillard12. The short mesure13. Prelude14. I love unloved15. Goodnight ground16. Ane Groundel17. My lady careys dompe
Winylowa 180-gramowa edycja kultowego albumu Milesa Davisa "Jazz At The Plaza". Płyta została zarejestrowana w bajecznym składzie: Miles Davis- trumpet; Cannonball Adderley- alto saxophone; John Coltrane- tenor saxophone; Bill Evans- piano; Paul Chambers- bass; Jimmy Cobb- drums. Recorded 1958, at the Edwardian Room, Plaza Hotel, New York City, USA. Tracklista: Side A 1. If I Were A Bell 8:31 2. Oleo 10:39 Side B 1. My Funny Valentine 10:19 2. Straight, No Chaser / The Theme 10:39
Tracklista:1. Introitus: Requiem2. Kyrie3. Sequentia4. Dies irae; Sequentia; Rex tremendae; Recordare; Confutatis; Lacrimosa5. Offertorium:6. Domine Jesu; Hostias7. Sanctus8. Benedictus9. Agnus Dei10. Communio: Lux aeterna
Lista utworów: 1. Alleluja 1:052. Magnificat 6:51 3. Magnificat 6:514. Ballada I 1:585. Gloria I 6:21 6. Credo I 6:59 7. Ballada II 2:19 8. Gloria II 3:08 9. Credo II 2:58 10. Ballada III 2:18 11. Gloria III 3:20 12. Credo III 6:1913.Hystorigraphi aciem mentis 6:13
Tracklista:François CouperinLes Concerts Royaux 1722Premier Concert- Prélude (Gravement)- Allemande (Légèrement)- Sarabande (Mesuré)- Gavotte (Notes égales et coulées)- Gigue (Légèrement)- Menuet en trioSecond Concert- Prélude (Gracieusement)- Allemande fuguée (Gayement)- Air tendre- Air contre fugué (Vivement)- Echos (Tendrement)Troisième Concert- Prélude (Lentement)- Allemande (Légèrement)- Courante- Sarabande (Grave)- Gavotte- Muzette (Naïvement)- Chaconne lègereQuatrième Concert- Prélude (Gravement)- Allemande (Légèrement)- Courante françoise- Courante à l’italiene- Sarabande (Très tendrement)- Rigaudon (Légèrement et marqué)- Forlane. Rondeau (Gayement)Le Concert des NationsMarc Hantï traverso , Alfredo Bernardini hautbois, Manfredo Kraemer violon, Josep Borràs basson, Bruno Cocset basse de violon, Xavier Díaz-Latorre théorbe et guitare, Guido Morini clavecin, Jordi Savall base de viole & direction
Arie napisane przez różnych kompozytorów dla słynnej śpiewaczki włoskiej Faustiny Bordoni popularnej w pierwszej połowie XVIII na wszystkich ważniejszych scenach operowych Europy. Wykonawcy to Agata Bienkowska - śpiew oraz towarzyszący jej zespół Barockwerk Hamburg pod dyrekcją Iry Hochmana.
Marcel Ponseele and il Gardellino have just released a second volume of their cantata series. They envisage making five recordings altogether under the theme of a ‘testimony’, each of which will focus on a specific theme. Each CD will include works of Bach, and, at the same time, works by his contemporaries like Graupner, Telemann, Zelenka and others. So the first CD was devoted to the theme of ‘Desire’. The following CDs will deal with other emotions. The second CD, ‘De profundis’, is a call for liberaton. ‘Lamentatio’ is the central theme of the third CD. ‘Trübsal’ (sorrow) will be the theme of the fourth, and lastly the fifth, ‘der Tod’, will deal with the theme of death, the great and final liberation. On the question if the ‘Testimonia’ represents a kind of musical testament, Marcel Ponseele answers: No, absolutely not! ‘Testament’ has connotations which are a little too definitive, like a final breath - no. ‘Testimonia’ means testimony. This series of recordings must testify to the way we approach Bach at the beginning of the 21st century, and above all the manner in which we attempt to pass on to the receptive soul the universal message, which shines out from the music of Bach.On the question ‘How is the Testimonia series special?’ Marcel Ponseele answers: I interpret Bach with some friends with whom I feel a deep affinity – some soul mates – whom I have given concerts with for many years, and who share my approach to this music. We do not call on great stars with their astronomical fees – Bach didn’t do that either – but we work with musicians who love this music; people who, again like Bach, seek true harmony, even transcendence. I also wanted to avoid musicological pitfalls of every kind. Most discussions about performance practice are in fact devoid of any substance and relevance. Certainly it is good and necessary to take account of the historical aspect, but what matters is the message contained in the music. Understand that and deliver it, that is my real priority!