Tracklista: 1. Symphony No. 33 2. Symphony No. 29 3. Symphony No. 19 4. Symphony No. 24 5. Symphony In F Major 6. Symphony No. 14 7. Symphony No. 17 8. Symphony No. 41 9. Symphony No. 40 10. March 11. March 12. March
Although Franz Schubert’s Lieder, his symphonies and his chamber music are staples in concert halls and on disc, his music for the stage is much less well known. He began composing operas in 1811, at the tender age of 13, and it is probable that the tuition he received from Antonio Salieri around that time fuelled his interest for the stage even further. Although he had one of his first public successes with the Singspiel Die Zwillingsbrüder, Schubert later encountered difficulties in getting his operas staged: most of them would remain unperformed for a long time after his death in 1828, and are still rarities in the repertoire. With a few exceptions, the overtures to these works have suffered a similar neglect, even though they display an astonishing abundance of musical ideas, and possess a stirring dramatic character beyond anything found in for instance the symphonic works. The striking originality of the music becomes even more obvious when performed on period instruments, as on the present recording with Manfred Huss and the fifty musicians in the Haydn Sinfonietta Wien, whose previous discs on BIS of works by Haydn has been warmly received by critics worldwide. Their recordings of Schubert's overtures were made in 1997 for release on the Koch/Schwann label, a disc which after its deletion from the catalogue has become a collectors’ item, with rare new copies being offered for as much as USD 200. For the present re-release the original recording has been remastered by BIS Records
Muzycy: Zbigniew Zuk - horn Zbigniew Raubo - piano Tracklista: 1. Ludwig Van Beethoven (1770 - 1827) - Sonate For Horn And Piano Op. 17 2. Paul Hindemith (1895 - 1963) - Sonate For Horn (F) And Piano (1939) 3. Joseph Rheinberger (1839 - 1901) - Sonate Es-Dur For Horn And Piano Op. 178 4. Wojciech Kilar (1932 - 2013) - Sonate Pour Cor Et Piano (1954) 5. Alec Wilder (1907 - 1980) - Sonata No.3 For Horn And Piano (1970)
Tracklista: Antonio Vivaldi 1. Konzert Nr. 6 für Violine, Streicher und Continuo in a-Moll, RV 356 (arr. Palágyi/Petricevic in D minor) Luigi Boccherini 2. Quintetto Fandango Nr. 4 D-Dur, G 448 (arr. Frąckiewicz/Petricevic) Francisco Tarrega 3. Recuerdos de la Alhambra Manuel de Falla 4. El sombrero de tres picos, Suite Nr. 2 für Orchester (arr. Palágyi/Petricevic) Dusan Bogdanovic 5. 5 Romances Sergei Voitenko 6. Revelation (Offenbarung) Alberto Ginastera 7. Danzas Argentinas, Op.2 (arr. Palágyi/Petricevic) Astor Piazzola 8. Violentango (arr. Palágyi/Petricevic)
Mija właśnie 20 lat od debiutu Philippa Jaroussky. Jak przyznał francuski kontratenor „Nawet po tylu latach moja pasja do muzyki nie zbladła”. Trzypłytowy album zawiera przegląd utworów od XVI do XXI wieku. Są to zarówno nowe nagrania, jak i najlepsze nagrania z poprzednich albumów. Trzeci krążek to utwory z udziałem przyjaciół artysty – zarówno tych ze świata klasyki, jak i popu – instrumentalistów, dyrygentów i orkiestr. Tracklista: CD 1 1. Antonio Vivaldi (1678-1741): Filiae Maestae Jerusalem, Rv 638: Ii. Sileant Zephyri 2. Francesco Cavalli (1602-1676): L'ormindo, Act 2: Che Città (Nerillo) 3. Josef Mysliveček (1737-1781): Olimpiade: Mentre Dormi (Licida) – * This Track Is A New Recording & Only Contained In The Physical Version Nicola Porpora 1686-1768 4. Arianna E Teseo: Mira In Cielo (Alceste) 5. Semiramide Riconosciuta: Se Pietoso Il Tuo Labbro (Mirteo) 6. Antonio Vivaldi: Giustino, Rv 717, Act 1: Vedrò Con Mio Diletto (Anastasio) 7. Francesco Cavalli: Xerse, Act 1: Ombra Mai Fu (Xerse) 8. Agostino Steffani (1653–1728): Niobe, Regina Di Tebe, Act 1: Sfere Amiche (Anfione) 9. Francesco Cavalli: Gli Amori D'apollo E Di Dafne, Act 3: Misero Apollo (Apollo) Antonio Vivaldi: Stabat Mater, Rv 621 10. I. Stabat Mater Dolorosa 11. Vii. Eia Mater 12. Giovanni Battista Pergolesi (1710-1736): Confitebor Tibi Domine: V. Sanctum Et Terribile Nomen Ejus 13. Francesco Cavalli: Erismena, Act 2: Uscitemi Dal Cor, Lacrime Amare (Idraspe) 14. Giovanni Battista Pergolesi: Stabat Mater: X. Fac Ut Portem Christi Mortem Antonio Vivaldi: 15. Longe Mala, Umbrae, Terrores, Rv 629: I. Longe Mala, Umbrae, Terrores 16. Nisi Dominus, Rv 608: Cum Dederit CD 2 1. John Dowland (1563-1626): Flow My Tears * New Recording 2. Henry Purcell (1659-1695) (Arr. Christina Pluhar) 3. Welcome To All The Pleasures (Ode For St Cecilia's Day), Z. 339/3: Here The Deities Approve 4. O Solitude, My Sweetest Choice, Z. 406 George Frideric Handel 5. Radamisto, Hwv 12, Act 3: Qual Nave Smarrita (Radamisto) 6. Partenope, Hwv 27: Act 2: Furibondo Spira Il Vento (Arsace) 7. Partenope, Hwv 27: Act 3: Ch'io Parta? (Arsace) 8. Serse, Hwv 40, Act 1: Frondi Tenere... Ombra Mai Fu (Xerse) 9. Flavio, Re De' Longobardi, Hwv 16, Act 2: Rompo I Lacci (Guido) Johann Sebastian Bach (1685-1750): 10. Cantata "Ich Habe Genug", Bwv 82: I. Ich Habe Genug 11. Komm, Süsser Tod, Komm, Sel'ge Ruh, Bwv 478 12. Georg Philipp Telemann (1681-1767): Cantata "Jesus Liegt In Letzten Zügen", Twv 1: 983: Iii. Mein Liebster Heiland 13. Claudio Monteverdi (1567-1663): L'orfeo, Sv 318, Act 1: Rosa Del Ciel (Euridice, Orfeo) 14. Christoph Willibald Gluck (1714-1787): Orfeo Ed Euridice, Wq. 30, Act 3: Che Farò Senza Euridice (Orfeo) Franz Schubert (1797-1828) 15. Du Bist Die Ruh, D. 776 * New Recording 16. Ständchen, D. 957 * New Recording 17. Emmanuel Chabrier (1841-1894): Fisch-Ton-Kan, D. 23: Qui Je Suis, Qui Je Suis (Fisch-Ton-Kan) 18. Léo Ferré (1916-1993): Colloque Sentimental 19. Joseph Kosma (1905-1969): Les Feuilles Mortes* New Recording CD 3: Philippe & Friends 1. Nicola Porpora: Polifemo: Placidetti Zeffiretti (Aci) 2. Giovanni Battista Pergolesi: Stabat Mater, P. 77: I. Stabat Mater Dolorosa 3. Antonio Sartorio (1630-1680): L'orfeo, Act 1: Cara E Amabile Catena (Euridice, Orfeo) 4. George Frideric Handel: Giulio Cesare In Egitto, Hwv 17 Act I: Son Nata A Lagrimar (Cornelia, Sesto) 5. Alessandro Grandi (1586-1630): O Intemerata 6. George Frideric Handel: Faramondo, Hwv 39: Caro, Cara, Tu M’accendi (Clotilde, Adolfo) 7. Christoph Willibald Gluck: Orfeo Ed Euridice, Wq. 30, Act 3: Vieni, Appaga Il Tuo Consorte ... Grande, O Numi (Orfeo, Euridice) 8. Benedetto Giacomo Marcello (1686-1739): Tirsi E Fileno: Veggio Fille/Parlo A Clori (Tirsi, Fileno) 9. Agostino Steffani: Niobe, Regina Di Tebe, Act 1: Mia Fiamma, Mio Ardore (Anfione, Niobe) 10. Francesco Cavalli: Eritrea, Act 1: O Luci Belle (Laodicea, Theramene) 11. Johann Sebastian Bach: Magnificat In D Major, Bwv 243: Vi. Et Misericordia 12. Claudio Monteverdi: L'incoronazione Di Poppea, Sv 308, Act 3: Pur Ti Miro (Neron, Popea) Jules Massenet (1842-1912): 13. Rêvons, C'est L'heure 14. Élégie 15. Camille Saint-Saëns (1835-1921): Violons Dans Le Soir 16. Andre Caplet (1878-1925) : Viens Une Flûte Invisible Soupire 17. Charles Trenet (1913–2001) : Chanson D'automne 18. - M - : Cet Air * First Release 19. John Lennon / Yoko Ono: Oh My Love * New Recording
With its ability to delicately suggest, obliquely seduce, and transport us to an “elsewhere” whose quaint, old-fashioned colours have nevertheless lost nothing of their power, is not the harp the perfect instrument to transform beloved works from the piano and symphonic repertoire into a series of elusive tableaux? Harpist Valérie Milot answers a definitive “Yes!” with several interpretations of works by Satie, Smetana, Debussy, and Liszt.Published in 1888 but not gaining real popularity until 1910, Satie’s three Gymnopédies are highly unusual and flout many of classical music’s rules. Inspired by Flaubert’s Salammbô, these ethereal dances are part of an Ancient Greek theme that runs through Satie’s entire oeuvre.Composed two years after Satie’s triptych, Debussy’s “Claire de lune” (from his Suite bergamasque), with its fluidity reminiscent of spoken language, likely takes its inspiration from a poem of the same name by Verlaine. A masterwork of Impressionism, the piece alternates subdued passages with sections of great emotional power, giving the impression of having captured an ephemeral moment in time.This perpetual motion is also conveyed in Smetana’s “The Moldau,” the second of six tone poems in the cycle Má Vlast (My Country), which suggests both the river itself and the landscapes and scenes encountered along its banks, before it ultimately empties into the Elba: a forest hunt, a country wedding, or nymphs frolicking in the moonlight.Liszt’s Liebesträume (Dreams of Love) No. 3 was written both to accompany a poem by Ferdinand Freiligrath, the sentiment of which is part of its duration (“O lieb, so lang du lieben kannst,”or “love as long as you can”) and as an independent piano work. The sweeping melody line seems to be borne along by a breath that regenerates itself throughout the work’s three sections.“The watercolours of this goldsmith-poet seem to be washed with a rutilant glow, the patina of the treasures of One Thousand and One Nights” (Edmond and Jules de Goncourt)A versatile instrument, able to move from refined elegance to tempestuous boldness, the harp also manages to elude stereotypes. With a few deft musical phrases, it can evoke poetic narratives whose power often goes beyond the words, images or places that inspired them.Composed in 1950 and dedicated to harpist Phia Berghout, Pour le tombeau d’Orphée by Marius Flothuis encompasses the very essence of the Dutch composer’s style: a search for purity and balance but also a union of form and content, as practiced by his musical influences, Mozart and Debussy. With a multitude of short motifs that he varies almost infinitely, Flothuis brilliantly conveys the sense of wandering inherent to the story of Orpheus, who goes to save his Eurydice but who does not return unscathed.A student of Martenot and Hasselmans (whom he succeeded at the Paris Conservatory), Marcel Lucien Tournier contributed enormously to expanding the harp’s harmonic and technical palette and trained an entire generation of harpists. While he composed extensively for orchestra, piano, violin, cello, and voice, his most interesting works are those dedicated to his own instrument. Composed in 1932, his Suite No. 4 Images offers three evocative tableaux: the captivating “Volière magique,” “Cloches sous la neige,” with its interplay of registers, and the ethereal “Danse du moujik,” with its multiple glissando effects.Légende, the first large-scale work by Henriette Renié, was written in 1901 after the poem Les Elfes by the Parnassian Leconte de Lisle. The following year, it would appear on the program of all her concerts with the Orchestre Lamoureux. The poem tells the story of a knight riding through the forest to his betrothed. The Elf Queen tries to seduce him, but he resists, explaining that the love of his life awaits him. Angry, the Queen lays a hex on him. He escapes only to encounter a ghost on the road. Believing it to be a demon, he curses it (“Out of my way, despicable ghost / For I am off to marry my sweet-eyed beauty”), only to realize, too late, that the phantom is, in fact, his beloved. “Oh my dear husband, the eternal grave / Shall be our wedding bed,” she replies. Realizing his mistake, he chooses to join her in the grave. Renié’s treatment of the text (which includes a ritornello repeated seven times) is essentially Romantic yet daring in its handling of the melodic and harmonic material, the work’s virtuosity emerging subtly through effects of register and timbre, which deftly expand on the poet’s words.Many composers have attempted to extract a sound, a colour, or an inspiration from the fertile ground of Spain, cradle of flamenco; few have succeeded better in conveying its diversity than Isaac Albéniz. In Zaragoza (Saragossa), taken from his second Suite española, he sketches a portrait of the city, primarily by way of traditional Aragon jotas. While his penchant for wide chords and flamboyant colours is evident, the exuberant crowds and the bustle of public celebrations are also palpable in the folksong-like harmonies.
"Niewielu jest muzyków, którzy wzbudzają tak wielkie uwielbienie wśród melomanów w każdym wieku, jak Martha Argerich", napisałbrytyjski magazyn Pianist. Dowody tego uwielbienia można zobaczyć m.in. podczas corocznego Progetto Martha Argerich, który stanowi część słynnego festiwalu w Lugano w Szwajcarii.
Tracklista:1. Ach Gott, wie manches Herzeleid, BWV 582. Liebster Jesu, mein Verlangen, BWV 323. Oboe d'amore Concerto in A Major, BWV 10554. Selig ist der Mann, BWV 57
Bwla Bartok skomponował swoje 44 duety na dwoje skrzypiec w 1931 roku. Były one zamówione przez niemieckiego skrzypka i pedagoga Ericha Dofleina. Bazują na melodiach ludowych różnych krajów wschodniej i środkowej Europy. Skrzypkowie Enrico Onofri i Lina Tur Bonet znani są przede wszystkim ze stylowych wykonań muzyki baroku. Tutaj w tym nagraniu grają na strunach używanych na początku XX wieku, co daje ciekawe efekty artystyczne.
Z okazji 100 rodzin artystki Sony Classical ma zaszczyt zaprezentować 31 płytowy zestaw nagrań zatytułowany "Birgit Nilsson - The Great Live Recordings". Birgit Nilsson ( 1918 – 2005) - szwedzka śpiewaczka operowa, sopran dramatyczny, uważana była za czołową wykonawczynię oper Wagnera w okresie powojennym. Studiowała w Królewskiej Szkole Operowej w Sztokholmie, w 1944 debiutowała w Operze Królewskiej w Sztokholmie. W 1946 zwróciła na siebie uwagę jako Agata w Wolnym strzelcu Carla Marii Webera i Lady Makbet w Makbecie Giuseppe Verdiego, w przedstawieniach pod dyrekcją Fritza Buscha. W kolejnych latach ugruntowała status gwiazdy opery skandynawskiej, dzięki m.in. partiom sopranowym w dziełach Wagnera – Wenus w Tannhäuserze, Senty w Holendrze tułaczu, Izoldy w Tristanie i Izoldzie, Brunhildy i Zyglindy w Walkirii. Zestaw zawiera: Disc 1: Bartok: Herzog Blaubarts Burg Recorded live at the Concert Hall, Stockholm, February 10, 1953 Nilsson, Sönnerstedt Conductor: Ferenc Fricsay Disc 2-4: Wagner: Lohengrin Recorded live at the Bayreuth Festival, August 14, 1954 Windgassen, Nilsson, Varnay, Uhde, Adam, Fischer-Dieskau Conductor: Eugen Jochum Disc 5-7: Wagner: Tristan Und Isolde Recorded live at the Bayreuth Festival, August 19, 1957 Windgassen, Nilsson, Hoffman, Hotter, van Mill Conductor: Wolfgang Sawallisch Disc 8: Wagner: Die Walküre Act 1, Scene 3: „Schläfst du, Gast“ Recorded live at the Bayreuth Festival, July, 1957 Nilsson, Vinay Conductor: Hans Knappertsbusch Wagner: Siegfried Act 3, Scene 3: „Heil dir Sonne“ Nilsson, Windgassen Recorded live at the Bayreuth Festival, August, 1967 Conductor: Otmar Suitner Disc 9-10: Puccini: Turandot Recorded live at the Metropolitan Opera House, March 4, 1961 Matinée Broadcast Nilsson, Moffo Conductor: Leopold Stokowski Disc 11-12: Strauss: Salome Recorded live at the Metropolitan Opera House, March 13, 1965 Matinée Broadcast Nilsson, Liebl, Dalis, Cassel Conductor: Karl Böhm Disc 13-14: Strauss: Elektra Recorded live at the Opéra de Montréal, September 19, 1967 Nilsson, Rysanek, Resnik, Nienstedt, Uhl Conductor: Karl Böhm Disc 15-17: Wagner: Tristan Und Isolde Recorded live at the Wiener Staatsoper, December 17, 1967 Thomas, Nilsson, Hesse, Wiener, Talvela Conductor: Karl Böhm Disc 18-20: Wagner: Die Walküre Recorded live at the Metropolitan Opera House, March 1, 1969 Matinée Broadcast Nilsson, Crespin, Vickers, Adam, Veasey, Talvela Conductor: Herbert von Karajan Disc 21-22: Beethoven: Fidelio Recorded live at the RAI di Roma, March 17, 1970 Nilsson, Spiess, Adam, Crass, Donath, Unger Conductor: Leonard Bernstein Disc 23-24: Strauss: Elektra Recorded live at the Metropolitan Opera House, February 27, 1971 Matinée Broadcast Nilsson, Rysanek, Madeira, Stewart, Nagy Conductor: Karl Böhm Disc 25-27: Wagner: Tristan Und Isolde Recorded live at the Festival d'Orange, July 7, 1973 Thomas, Nilsson, Hesse, Wiener, Talvela Conductor: Karl Böhm Disc 28-30: Strauss: Die Frau Ohne Schatten Recorded live at the Bayerische Staatsoper, September 29, 1976 Nilsson, Bjoner, Varnay, Fischer-Dieskau, King Conductor: Wolfgang Sawallisch Disc 31: Concerts (Excerpts) Recorded live at the Concert Hall, Stockholm 1953 (first release on CD)/1967/68 Recorded live at the Sydney opera house (Opening Concert), September 29, 1973