Tracklista: Johann Christian Bach: 1. Sinfonia in G Minor, Opus 6 No. 6 Johann Christoph Friedrich Bach: 2. Sinfonia in D Minor, WFV I:3 Wilhelm Friedemann Bach: 3. Sinfonia in D Major, Fk 64 Carl Philipp Emanuel Bach: 4. Sinfonia in E Minor, Wq 177 5. Sinfonia in F Major, Wq 181 Album został wydany przez wytwórnię Passacaille (PAS 1074).
Tracklista: 1. All Souls Day2. Fast Times at Dropout High3. 12.15.104. The Graveyard of the Atlantic5. Slacker Rock6. They Live, We Sleep7. Trash Panda8. Peel Sessions9. Beauty, Eh?10. Silver Turns to Rust11. Some Notes On Bach and Haydn12. You and Your Perfect Li(f)e13. Oh, Kansas City14. In a City of Forgotten Words15. Soul and Fire16. The Boys of Summer
Tracklista: CD 1 1. Es ist ein Ros entsprungen (Praetorius) 2. Nun kommt der Heiden Heiland (Altenburg) 3. Ave Maria (Schütz) 4. Nun kommt der Heiden Heiland (Schelle) 5. Gegrüssest seis du (Weckmann) 6. Vom Himmel hoch BWV 606 (Bach) 7. Fürchtet euch nicht (Johann Michael Bach) 8. Puer natus in Bethlehem (Praetorius) 9. Ein kleines Kindelein (Tunder) 10. Das neugeborene Kindelein (Buxtehude) 11. O Jesulein, mein Jesulein (Schein) 12. Joseph, lieber Joseph (Praetorius) 13. Willkommen, süßer Bräutigam (Lübeck) 14. Freude, Freude, große Freude (Hammerschmidt) 15. Wo ist der neugeborene König (Hammerschmidt) 16. Herr, nun lässt du deinen Diener (Praetorius) 17. Das Wort ward Fleisch (Hammerschmidt) 18. Magnificat II toni (Weckmann)CD 2 1. Praeludium A-Dur (Buxtehude) 2. Nun lob mein seel (Hammerschmidt) 3. Missa super Angelus ad Pastores ait (Praetorius) 4. In dulci jubilo BWV 608 (Bach) 5. Es begab sich aber (Selle) 6. Gelobet seist du (Schein) 7. Christum wir sollen loben schon BWV 611 (Bach) 8. Wie bin ich doch so herzlich froh (Hammerschmidt) 9. Nun freut euch BWV 734 (Bach) 10. Das Alte Jahr vergangen ist (Scheidt) 11. Das Alte Jahr vergangen ist BWV 614 (Bach)
By departing in virtually every respect from the conventional model of the baroque trio sonata, Bach’s six Sonatas for harpsichord and violin let both instruments participate equally in the unfolding of the thematic-motivic material. They establish a genuine dialog between the two performers as Well and, thereby, actually pave the way for the classic duo sonata. The dialog between these two top musicians is equel and enchanting and the intimate nature of this recording draws the listener immediately in the music. Bach’s violin sonatas, more properly called Sonatas for harpsichord and violin, represent a closed set of six works and resemble in this way a number of similar instrumental work groups consisting of half a dozen pieces of the same kind. Take for example the six Sonatas and partitas for unaccompanied violin, the six suites for cello solo, the six English Suites, or the six Brandenburg Concertos—to mention only a few. The concept Bach pursues in these work groups, however, does not aim at a cycle in the sense of a specific sequence in which the pieces are to be performed; it rather follows the principle of systematically exploring the manifold musical possibilities that can be realized in one and the same category of composition. Hence, the single works happen to form a whole, that is, a more or less closed set. If published it would constitute an “opus”, as Bach called the printed edition of his six keyboard partitas of 1731. The most important feature of Bach’s violin Sonatas consisted in their innovative scoring, an absolute novelty at the time of their origin and in Many Ways the prototype, on which the classical violin-piano sonata of a Mozart and Beethoven would be based. Even though the traditional Elements of the Baroque trio sonata For Two treble instruments and basso continuo can still be found in a number of movements or sections of movements where the violin and the right hand of the harpsichord form a duo structure over a bass fundament, the prevailing texture of the harpsichord part transcends the trio convention. In the six Sonatas BWV 1014-19, the composer Bach single-handedly created a transformation of the genre of violin sonata.
Wybór pieśni Jana Sebastiana Bacha zawierający najpiękniejsze z jego dzieł. Tutaj, pieśni zwykle wykonywane przez głos męski – śpiewa alcistka Catherine King z towarzyszeniem Norweskiej. Cześć z tych kompozycji, jak się przypuszcza, Bach pisał z myślą o swojej żonie – Annie Magdalenie – również znakomitej alcistce.
Tracklista: CD 1 1. Vivaldi 2. Falconieri 3. Scarlatti 4. Mancini 5. J.S. Bach 6. Purcell 7. Handel CD 2 1. Gaultier 2. Lully 3. Rameau 4. Philidor 5. Anonyme
Bach, Pergolesi, Gounod, Donizetti, Durante, Luzzi, Mascagni, Schubert, Franck, Moniuszko, Boëllmann. Elzbieta Kaczmarczyk-Janczak, Agnieszka Maciejewska, Katarzyna Trylnik, Ryszard Karczykowski, Dariusz Machej, Andrzej Chorosinski organs of the Garrison Church in Jelenia Góra.
On the penultimate disc in his series of the complete keyboard concertos by C.P.E. Bach, Miklós Spányi completes the set of six concertos (Sei Concerti, Wq 43/1-6) begun on Volume 17. Bach finished working on the set in 1771, but had already advertised its coming publication. In a bid to reach as many potential subscribers as possible, he marketed the works as ‘easy’, and also included optional parts for wind instruments: two horns in all the fast movements, replaced by flutes in the slow movements. Bach’s aim was to make the works appealing to both players and listeners, and the result is a set of highly attractive pieces, with approachable melodies and dance rhythms but also displaying a new freedom with regard to conventional concerto form. With the expert support of the Hungarian period band Concerto Armonico, Miklós Spányi performs the solo parts of Wq 43/5 and 43/6 on a harpsichord, a copy of an instrument from 1745. Inspired by the English harpsichords that were imported in great number to Northern Germany during Bach’s time, this instrument has been fitted with a so-called ‘swell device’, enabling the performer to achieve dynamic shadings and crescendo-diminuendo effects consistent with the instructions in Bach’s scores. Some seven years after the Sei Concerti, Bach composed the concertos in G major (Wq 44) and D major (Wq 45) – two works which, although composed in the same year, are strikingly different in character, evidence of Bach’s continuing desire to give each new work a distinctive identity. This has led Miklós Spányi to choose to perform the Wq 44 concerto on a fortepiano from 1798, by the English maker Broadwood, returning to the harpsichord for the final work on the disc
Together with its companion Volume 2, these CDs contain all Bach’s extant concertos that feature a solo keyboard. Most were written in the 1730s and are thought to be arrangements of earlier concertos, many of which are now lost (though two will be recognized as Bach’s E major and A minor violin concertos and the sixth is an arrangement of the fourth Brandenburg). The fifth Brandenburg Concerto, with harpsichord, flute and violin soloists, dates from 1721 and is generally regarded as the first concerto for a solo keyboard instrument ever written. Bach made the keyboard part particularly brilliant and included a huge cadenza; he certainly knew how to establish a genre with a bang!Hewitt’s Bach is by now self-recommending but only after playing Bach across the world with numerous ensembles did Angela decide that the Australian Chamber Orchestra were the perfect collaborators. After a month of concerts across Australia these recordings were set down in Sydney in February of this year and the frisson of artists operating at the peak of their form is clear for all to hear. One is immediately struck by the quality of chamber-music playing as phrases are passed from soloist to orchestra and, in the case of Brandenburg Concerto No 5 and the Triple Concerto, between all three soloists. Rhythms are buoyant, tempos lively, the spirit of dance is never far away in the fast movements and a perfectly vocal quality pervades the sung lines of the slow movements.These CDs will surely be the jewels in the crown of Angela Hewitt’s magnificent Bach series.
Paweł Seligman - Organy Kościoła NMP Królowej Polski w Pogórzu Tracklista: Marc-Antoine Charpentier 1. Preludium z Te Deum Johann Pachelbel 2. Chiacona d-moll Dietrich Buxtehude 3. Herr Christ, der einig Gottes Sohn 4. Preludium G-dur Louis-Claude Daquin 5. Kukułka Johann Sebastian Bach 6. Preludium i Fuga c-moll 7. Wachet auf, ruft uns die Stimme 8. Toccata i Fuga d-moll 9. Jesus bleibet meine Freude 10. Pastorale F-dur Carl Philipp Emanuel Bach 11. Sonata F-dur Franz Schubert 12. Ave Maria Alexandre Guilmant 13. Communio Es-dur Eugene Gigout 14. Toccata h-moll Georg Friedrich Haendel 15. Alleluja z Oratorium „Mesjasz”