Symfonie nr 49 "La Passion" i nr 80 oraz koncert skrzypcowy Józefa Haydna w wykonaniu zespołu Freiburger Barockorchester pod dyrekcją Gottfried von der Goltza. Zespół specjalizuje sie w wykonywaniu muzyki wieków minionych na dawnych instrumentach.
Polonez pochodzi od tańca ludowego zwanego chodzonym. Pod koniec XVIII wieku przekształcił się w popularny taniec towarzyski wykonywany na dworach szlacheckich i w magnackich pałacach dla uświetnienia uczt, biesiad i uroczystości. Zapewne wtedy powstała jego z francuska brzmiąca nazwa polonez. Używana obok nazwy polski ustaliła się ostatecznie i była stosowana nawet wtedy, kiedy taniec ten uzyskał status tańca narodowego, o znamionach patriotycznego symbolu. Artystyczną formę nadał polonezowi Michał Kleofas Ogiński. Jego powszechnie grywane utwory odegrały ważną rolę, zwłaszcza po utracie przez Polskę niepodległości. Zapoczątkowały oddzielny nurt twórczości zdominowany polonezowym „charakterem”. Polonezy pisali: Józef Elsner, Maria Szymanowska, Karol Kurpiński, Jan Stefani i wielu innych kompozytorów przełomu XVIII i XIX wieku.
Solowe koncerty Vivaldiego to utwory, które wciąż cieszą się bardzo dużym uznaniem. Wykonawcy, czyli niemiecki zespół, Munchen Barocksolisten, nagrodzony m.in. prestiżową nagrodą diapason 5 w 2010 roku, to gwarancja najwyższej jakości. Tak i tym razem ich płyta jest godną polecenia pozycją dla miłośników weneckiego mistrza i nie tylko.
Tracklista:
Tracklista:Disc 11. Symphony: Allegro - Larghetto - Allegro - Andante larghetto 00:12:172. Act I Scene 1: How excellent Thy name, O Lord (Chorus) 00:02:573. Act I Scene 1: Air: An Infant rais'd by thy Command (Soprano) 00:01:204. Act I Scene 1: Trio: Along the Monster Atheist strode (Chorus) 00:01:025. Act I Scene 1: The Youth inspir'd by Thee, O Lord (Chorus) 00:01:506. Act I Scene 1: How excellent thy name, O Lord (Chorus) 00:02:337. Act I Scene 2: Recitative: He comes! (Michal) 00:00:108. Act I Scene 2: Air: O God - like Youth! (Michal) 00:03:129. Act I Scene 2: Recitative: Behold, O King… Young Man… The Son of Jesse (Abner, Saul, David) 00:00:5810. Act I Scene 2: Air: O King, your Favours with Delight (David) 00:05:4211. Act I Scene 2: Recitative: O early Piety! (Jonathan) 00:00:2912. Act I Scene 2: Air: What abject Thoughts a Prince can have (Merab) 00:02:0213. Act I Scene 2: Recitative: Yet think with whom this Honour you bestow (Merab) 00:00:1414. Act I Scene 2: Air: Birth and Fortune I despise! (Jonathan) 00:04:1715. Act I Scene 2: Recitative: Go on, illustrious Pair! (High Priest) 00:00:1916. Act I Scene 2: Air: While yet thy Tide of Blood runs high (High Priest) 00:01:5417. Act I Scene 2: Recitative: Thou, Merab, first in Birth (Saul) 00:00:2518. Act I Scene 2: Air: My Soul rejects the Thought with scorn (Merab) 00:01:1719. Act I Scene 2: Air: See with what a scornful Air (Michal) 00:01:0520. Act I Scene 2: Air: Ah, lovely Youth! (Michal) 00:00:4821. Act I Scene 3: Symphony: Andante allegro 00:01:1022. Act I Scene 3: Recitative: Already see the Daughters of the Land (Michal) 00:00:2123. Act I Scene 3: Welcome, welcome, mighty King! (Chorus) 00:01:3424. Act I Scene 3: Accompagnato: What do I hear (Saul) 00:00:2925. Act I Scene 3: David his Ten Thousands slew (Chorus) 00:00:3126. Act I Scene 3: Accompagnato: To him Ten Thousands! (Saul) 00:00:1527. Act I Scene 3: Air: With Rage I shall burst his Praises to hear! (Saul) 00:01:2328. Act I Scene 4: Recitative: Imprudent Women!… 'Tis but his old Disease (Jonathan, Michal) 00:00:5329. Act I Scene 4: Air: Fell Rage and black Despair possest (Michal) 00:02:4330. Act I Scene 4: Recitative: This but the smallest part of Harmony (High Priest) 00:00:2331. Act I Scene 4: Accompagnato: By thee this Universal Frame (High Priest) 00:01:5932. Act I Scene 5: Recitative: Rack'd with Infernal Pains (Abner) 00:00:1433. Act I Scene 5: Air: O Lord, whose Mercies numberless (David) 00:03:2434. Act I Scene 5: Symphony (Arpa): Largo 00:01:3235. Act I Scene 5: Air: Fly, malicious Spirit, fly (David) 00:02:0636. Act I Scene 5: Recitative: 'Tis all in vain (Jonathan) 00:00:1937. Act I Scene 5: Air: A Serpent, in my Bosom warm'd (Saul) 00:01:5638. Act I Scene 5: Recitative: Has he escap'd my Rage (Saul) 00:00:3039. Act I Scene 5: Air: Capricious Man, in Humour lost (Merab) 00:05:56Disc 21. Act I Scene 6: Accompagnato: O Filial Piety! (Jonathan) 00:01:392. Act I Scene 6: Air: No, cruel Father, no (Jonathan) 00:01:363. Act I Scene 6: Air: O Lord, whose Providence (High Priest) 00:01:284. Act I Scene 6: Preserve him for the Glory of thy Name (Chorus) 00:02:185. Act II Scene 1: Envy! Eldest - born of Hell! (Chorus) 00:02:096. Act II Scene 2: Recitative: Ah, dearest Friend (Jonathan) 00:00:377. Act II Scene 2: Air: But sooner Jordan's Stream, I swear (Jonathan) 00:02:178. Act II Scene 2: Recitative: O strange Vicissitude!… My Sister Merab… (David, Jonathan) 00:00:589. Act II Scene 2: Air: Such haughty Beauties (David) 00:04:5610. Act II Scene 2: Recitative: My Father comes (Jonathan) 00:00:1611. Act II Scene 3: Recitative: Hast thou obey'd my orders… Alas, my Father! (Saul, Jonathan) 00:00:4012. Act II Scene 3: Air: Sin not, O King, against the Youth (Jonathan) 00:01:5913. Act II Scene 3: Air: As Great Jehovah lives, I swear (Saul) 00:01:0514. Act II Scene 3: Air: From Cities storm'd, and Battles won (Jonathan) 00:02:0015. Act II Scene 4: Recitative: Appear, my Friend… No more imagine Danger (Jonathan, Saul) 00:00:3616. Act II Scene 4: Air: Your words, O King, my Loyal Heart (David) 00:01:0617. Act II Scene 4: Recitative: Yes, he shall wed my Daughter! (Saul) 00:01:0618. Act II Scene 5: Recitative: A Father's Will has authoriz'd my Love (Michal) 00:00:3319. Act II Scene 5: Duet: O Fairest of ten thousand fair (Michal, David) 00:00:4320. Act II Scene 5: Is there a Man, who all his Ways Directs (Chorus) 00:02:5021. Act II Scene 5: Symphony: Largo - Allegro - 00:01:3822. Act II Scene 5: Symphony: Gavotte 00:02:2523. Act II Scene 6: Recitative: Thy Father is as cruel, and as false (David) 00:06:4724. Act II Scene 6: Duet: At Persecution I can laugh (David, Michal) 00:02:2525. Act II Scene 7: Recitative: Whom dost thou seek… I seek for David (Michal, Doeg) 00:00:4126. Act II Scene 7: Air: No, no, let the Guilty tremble (Michal) 00:01:2027. Act II Scene 8: Recitative: Mean as he was, he is my Brother now (Merab) 00:00:5128. Act II Scene 8: Air: Author of Peace, who canst controll (Merab) 00:01:3829. Act II Scene 9: Symphony: Allegro 00:00:4530. Act II Scene 9: Accompagnato: The Time at length is come (Saul) 00:02:5531. Act II Scene 10: Recitative: Where is the Son of Jesse… He earnestly asked Leave (Saul, Jonathan) 00:01:1832. Act II Scene 10: O fatal Consequence (Chorus) 00:00:40Disc 31. Act III Scene 1: Accompagnato: Wretch that I am! (Saul) 00:02:192. Act III Scene 1: Recitative and Accompagnato: 'Tis said, here lives a Woman (Saul) 00:00:503. Act III Scene 2: Recitative: With me what would'st thou… I wou'd (Witch of Endor, Saul) 00:00:514. Act III Scene 2: Air: Infernal Spirits, by wose Pow'r (Witch of Endor) 00:02:315. Act III Scene 3: Accompagnato: Why hast thou force'd me from the Realm of Peace… O holy Prophet, holy Prophet! (Samuel, Saul) 00:03:176. Act III Scene 3: Symphony: Allegro 00:00:417. Act III Scene 4: Recitative: Whence com'st thou… Out of the Camp of Israel (David, Amalekite) 00:01:178. Act III Scene 4: Air: Impious Wretch, of Race accurst! (David) 00:01:459. Act III Scene 5: March: Grave 00:03:0110. Act III Scene 5: Mourn, Israel, mourn thy Beauty lost (Chorus) 00:02:3511. Act III Scene 5: Air: O let it not in Gath be heard (High Priest) 00:02:3312. Act III Scene 5: Air: From this unhappy Day (Merab) 00:02:3513. Act III Scene 5: Air: Brave Jonathan his Bow ne'er drew (David) 00:02:1714. Act III Scene 5: Eagles were not so swift as they (Chorus) 00:00:2115. Act III Scene 5: Air: In sweetest Harmony they liv'd (Michal) 00:05:1416. Act III Scene 5: O fatal Day! How low the Mighty lie! (David, Chorus) 00:04:5717. Act III Scene 5: Air: Ye men of Judah, weep no more (High Priest) 00:01:4318. Act III Scene 5: Gird on thy Sword, thou Man of Might (Chorus) 00:05:37
To debiutancka płyta zespołu Ebonit Saxophone Quartet. To kompilacja muzyki Haydna, którego dzieło Siedem Ostatnich Słów Chrystusa na Krzyżu jest podstawą muzyczną projektu z muzyką XX wieku. Niektóre fragmenty są zastąpione muzyką Weberna, Sibeliusa czy Szostakowicza.
Tracklista:1. String Quartet No. 2 in A minor, Sz. 67, BB 75 (Op. 17): Moderato2. String Quartet No. 2 in A minor, Sz. 67, BB 75 (Op. 17): Allegro molto capriccioso3. String Quartet No. 2 in A minor, Sz. 67, BB 75 (Op. 17): Lento4. String Quartet No. 5 in B flat major, Sz. 102, BB 110: Allegro5. String Quartet No. 5 in B flat major, Sz. 102, BB 110: Adagio Molto6. String Quartet No. 5 in B flat major, Sz. 102, BB 110: Scherzo7. String Quartet No. 5 in B flat major, Sz. 102, BB 110: Andante8. String Quartet No. 5 in B flat major, Sz. 102, BB 110: Finale
The life and music of Villa-Lobos is intimately linked with the emergence of Brazil as a nation and cultural force during the first half of the 20th century. This applies especially to the two great cycles that he composed between 1920 and 1945: the 12 Choros and the 9 Bachianas Brasileiras. In the Choros the composer’s stated aim was to achieve a synthesis of the various musical influences of Brazil: the popular urban music (such as the dances of European origin performed by chorões or street musicians), the music brought from Africa by slaves, and the chants and rhythms of the native Indian tribes. The Choros range from solo pieces with durations of a couple of minutes to large-scale scores for expanded symphony orchestra, sometimes comprising choir or solo instruments. The cycle also includes an Introduction, as well as a brief ‘after-thought’: the Two Choros (bis). After the completion of the Choros, Villa-Lobos in 1930 began his next great project, the Bachianas Brasileiras. Admiring its ability to communicate across all boundaries in time or place, Villa-Lobos once described the music of Bach as ‘universal folk music’ and here attempted a fusion between Bach and Brazilian music. This cycle also consists of various scorings: from solo instrument to choir a cappella and symphony orchestra, with Villa-Lobos providing parallel versions of two of them (Nos 4 and 9). All of these are included in this collection, which comprises recordings made between 2002 and 2006, and released as separate discs to universal acclaim: ‘The complete set of Villa-Lobos's exotic and brilliant Bachianas Brasileiras surpasses, for me, all previous recordings in terms of execution, spirit and recorded sound’ wrote the reviewer in Fanfare, including the discs on his 2008 ‘Want-List’. Equally well-received, the cycle of Choros was already before its completion described as ‘a publishing feat’ on the website Klassik.com. The performances of the São Paulo Symphony Orchestra were naturally in focus: ‘The Brazilian players sound as if the music is in their blood … and their ensemble is in no way inferior to that of any of their rivals’ (Gramophone) and ‘a world-class ensemble providing an assured blend of lush colours, pulsating rhythms and supple phrasing’ (International Record Review) are only a couple of examples. The many solo performances appearing throughout the collection received similar praise, as witness the following examples: ‘No. 5 with Donna Brown has to be the quintessential performance of this most famous of Bachianas’ (American Record Guide), ‘Jean Louis Steuerman plays with great finesse and understanding’ (Gramophone), ‘Cristina Ortiz proves a peerless pianist in this unique piece [Choros No. 11] ’ (classiqueinfo-disque.com). This collection also includes a performance by the Berlin Philharmonic Wind Quintet of Quinteto em forma de choros (a work often mentioned in connection with the Choros even if it does not form part of the cycle) as well as a separate disc containing Anders Miolin’s recording of the complete music for solo guitar, much of which Villa-Lobos composed for the legendary Andres Segovia.
Tracklista:1. Music For A Large Ensemble2. Violin Phase3. Octet
Tracklista: 1. 1. Procession 2. 2. Wolcum Yole! 3. 3. There Is No Rose 4. 4a. That Yonge Child 5. Balulalow 6. As Dew In Aprille 7. This Little Babe 8. Interlude 9. In Freezing Winter Night 10. Spring Carol 11. Adam Lay I-Bouden 12. Recession 13. Kyrie 14. Gloria 15. Sanctus And Benedictus 16. Agnus Dei 17. A Hymn To The Virgin 18. A Hymn Of Saint Columba 19. Deus In Adjutorium Meum.. 20. Jubilate Deo In E Flat Major