La Magdalene, The cult of Mary Magdalene in early XVI century

• Wykonawca Graindelavoix Ensemble
• Data premiery 2009-05-05
• Nośnik CD

Tracklista: 1. Going For The One 03:512. Turn Of The Century (LP Version) 07:583. Parallels (LP Version) 05:524. Wonderous Stories 03:455. Awaken (LP Version) 15:38

• Wykonawca Yes
• Data premiery 1994-08-29
• Nośnik CD

Lista utworów:1. Introduction2. Spotlight Kid3. Too Late For Tears4. Long Live Rock ‘n’ Roll / Black Night5. Hunting Humans6. Wolf To The Moon / Difficult To Cure7. Keyboard Solo8. Still I’m Sad9. Man On The Silver Mountain10. Temple Of The King11. Black Masquerade12. Ariel13. Since You’ve Been Gone14. Perfect Strangers15. Sixteenth Century Greensleeves16. Hall Of The Mountain King17. Burn18. Smoke On The Water

• Wykonawca Blackmore Ritchie , Rainbow
• Data premiery 2013-09-04
• Nośnik DVD

1 Song of the Century 0:572 21st Century Breakdown 5:093 Know Your Enemy 3:104 ¡Viva La Gloria! 3:305 Before the Lobotomy 4:376 Christian's Inferno 3:077 Last Night on Earth 3:568 East Jesus Nowhere 4:349 Peacemaker 3:2410 Last of the American Girls 3:5111 Murder City 2:5412 ¿Viva La Gloria? Little Girl 3:4713 Restless Heart Syndrome 4:2114 Horseshoes and Handgrenades 3:1415 The Static Age 4:1616 21 Guns 5:2117 American Eulogy: A. Mass Hysteria/B. Modern World 4:2618 See the Light 4:35

• Wykonawca Green Day
• Data premiery 2009-08-03
• Nośnik Płyta Analogowa

Paul McCreesh has again assembled a vast internationl ensemble of over 400 artists including leading British soloists – Rosemary Joshua, Sarah Connolly, Robert Murray and Simon Keenlyside to recreate the specacular original performacnes of this great 19th century oratorio.

• Wykonawca Various Artists
• Data premiery 2012-09-01
• Nośnik CD

Tracklista:1. Party at the End of Time2. Don't Close the Door3. Black Diamond4. Soho By Night (Beds of Broken Dreams)5. Chinese Whispers6. Little Boy Lost7. 21st Century Blues8. Same Old Brand New Good News Blues... Again9. Orphans of the Storm10. Head in the Clouds11. Last Orders

• Wykonawca Little Devils
• Data premiery 2014-02-03
• Nośnik CD / Album

Ostatnia studyjna płyta w historii legendy rocka progresywnego, brytyjskiego tria Emerson, Lake & Palmer, w wersji dwupłytowej, zremasterowanej z dodatkowymi kompozycjami. Album "In The Hot Seat" ukazał się we wrześniu 1994 roku. Wyprodukował go Keith Olsen (m.in. Fleetwood Mac, Ozzy Osbourne, Whitesnake, Santana). Całość nagrywano w Los Angeles, w dość napiętej atmosferze. Wpływ na to miały też problemy zdrowotne Keitha Emersona (z nerwami w ręce). Wśród dodatków na pierwszym dysku, chociażby wspaniała interpretacja "Obrazków z wystawy" Musorgskiego. ELP zmierzyli się również z kompozycją Boba Dylana "Man In The Long Black Coat". Płyta druga to koncertowe nagrania tria, wśród nich także medley z przeróbką klasyka King Crimson "21st Century Schizoid Man". Notki w książeczce napisał słynny dziennikarz muzyczny Chris Welch. Tracklista: CD 1 1. Hand of Truth 2. Daddy 3. One by One 4. Heart On Ice 5. Thin Line 6. Man in the Long Black Coat 7. Change 8. Give Me a Reason to Stay 9. Gone Too Soon 10. Street War 11. Pictures At an Exhibition 12. A Time and a Place 13. Piano Concerto No. 1: Third Movement CD 2 1. From the Beginning 2. Karn Evil 9: First Impression, Pt. 2 3. Tiger in a Spotlight 4. Hoedown 5. Touch and Go 6. Knife-Edge 7. Bitches Crystal 8. Honky Tonk Train Blues 9. Take a Pebble 10. Lucky Man 11. Fanfare for the Common Man / Blue Rondo a la Turk 12. 21st Century Schizoid Man / America

• Wykonawca Emerson , Lake And Palmer
• Data premiery 2017-07-28
• Nośnik CD

Ścieżka dźwiękowa do jednego z najbardziej wyczekiwanych filmów roku - "Bohemian Rhapsody" - porywającej opowieści o Freddie'em Mercury. Największe hity Queen w wersjach studyjnych i najlepsze wykonania koncertowe, w tym 11 niepublikowanych dotąd nagrań. Za produkcję 22 utworów z soundtracku odpowiadają Brian May i Roger Taylor, ze współudziałem wieloletnich współpracowników Queen: Justina Shirley-Smitha, Krisa Fredrikssona oraz Joshua J Macrae. Masteringiem zajęli się Adam Ayan i Bob Ludwig. „Bohemian Rhapsody” będzie dopiero drugim pełnym soundtrackiem w dyskografii zespołu – pierwszy to „Flash Gordon”. W przeciwieństwie do „Flash Gordona”, na „Bohemian Rhapsody” nie znajdziemy fragmentów filmu. Każdy utwór jest pełnowymiarowy, nawet jeśli na ekranie usłyszymy tylko kilkanaście sekund. Kluczowym zadaniem dla ekipy odpowiedzialnej za soundtrack „Bohemian Rhapsody” było dopasowanie jak najlepszych wersji utworów Queen, zwłaszcza nagrań koncertowych, do scenariusza.  Nie chodziło o stworzenie przypadkowej kompilacji największych hitów, lecz spójnej opowieści, która podkreśla najważniejsze punkty historii opowiadanej na ekranie. Aby zapewnić słuchaczom jak najwspanialsze kinowe doznania, Brian May wpadł na pomysł, by Queen wykonał własną wersję słynnego motywu 20th Century Fox. Tak rozpoczyna się zarówno album, jak i film. Film „Bohemian Rhapsody” to porywająca opowieść o zespole Queen, jego muzyce i niezwykłym wokaliście Freddie’em Mercurym, który przełamując stereotypy i konwencje, zdobył uwielbienie niezliczonych fanów. Film ukazuje błyskotliwą karierę zespołu, który dzięki ikonicznym utworom i rewolucyjnemu brzmieniu wspiął się na szczyty sławy, dopóki skandalizujący styl życia Mercury’ego nie postawił wszystkiego pod znakiem zapytania.  Triumfalny powrót zespołu podczas koncertu na rzecz Live Aid z udziałem cierpiącego na śmiertelną chorobę Mercury’ego wszedł na trwałe do historii muzyki rockowej i po dziś dzień stanowi źródło inspiracji dla wszystkich tych, którzy czują się inni, niepoprawnych marzycieli i wielbicieli muzyki na całym świecie. Tracklista: LP 1 Side A 1. 20th Century Fox Fanfare 2. Somebody To Love 3. Doing All Right... revisited (Performed by Smile) 4. Keep Yourself Alive (Live At The Rainbow) 5. Killer Queen 6. Fat Bottomed Girls (Live In Paris) Side B 1. Bohemian Rhapsody 2. Now I'm Here (Live At Hammersmith Odeon) 3. Crazy Little Thing Called Love 4. Love Of My Life (Rock In Rio) LP 2 Side C 1. We Will Rock You (Movie Mix) 2. Another One Bites The Dust 3. I Want To Break Free 4. Under Pressure (Performed by Queen & David Bowie) 5. Who Wants To Live Forever Side D 1. Bohemian Rhapsody (Live Aid) 2. Radio Ga Ga (Live Aid) 3. Ay-Oh (Live Aid) 4. Hammer To Fall (Live Aid) 5. We Are The Champions (Live Aid) 6. Don't Stop Me Now… revisited 7. The Show Must Go On

• Wykonawca Queen
• Data premiery 2019-02-22
• Nośnik Płyta Analogowa

The young Oxford choir turns its immaculate ensemble, lucid diction and faultless tuning to an exciting find: a hugely neglected composer from the 16th century. Relatively little is known about Dominique Phinot’s life—there is a suggestion that he was executed for homosexual practices, cutting short a productive and impressive composing career. Phinot’s output consists of over a hundred motets, two Masses, and settings of Vesper Psalms and the Magnificat, as well as two books of French chansons and two Italian madrigals. The acclaim with which his sacred compositions were received is evident both in the frequency of their publication as well as in the writings of his contemporaries. He was clearly renowned as a master of imitative polyphonic writing. The publication in Lyons during 1547/8 of two collections of Phinot’s motets secured his reputation for the rest of the century and beyond. Not only do the five-voice motets in the Liber primus mutetarum confirm his outstanding polyphonic skills but the Liber secundus contains five eight-voice works which are of considerable historical importance. The latter are unique in the mid-sixteenth century in their treatment of double-choir dialogue, a technique in which two four-part ensembles normally alternate thematically related phrases of varying lengths. These works, of which four are included in this recording, are the antecedents of the resplendent Venetian polychoral tradition of the late sixteenth and early seventeenth centuries. 'The Brabant Ensemble's performances of these fascinating works are as polished and assured as we have come to expect, full-throated yet finely modelled and shimmering with lively intelligence. Rice unerringly finds the right pace for each work … and pays full heed to Phinot's expressive use of contrasting textures. Amidst all the drama of the larger works, the ensemble's caressing, translucent rendition of O sacrum convivium is a particular high point. This is a valuable and engrossing premiere for a neglected and somewhat unconventional sixteenth-century master' (International Record Review) 'There are many laurels to award in this column, but arguably the biggest, shiniest and bushiest wreath should land on Stephen Rice and his spirited Brabant Ensemble for their outstanding disc of works by Dominique Phinot. What a discovery! Extraordinary music, not least the 'secret chromatic art' exemplified in the motet _Pater Peccavi_, which deserves the widest hearing thanks to these sinuous, assured performance, captured in an edgy acoustic that enhances the curious architecture of the polyphony' (Choir & Organ Magazine)

• Wykonawca Brabant Ensemble
• Data premiery 2009-01-01
• Nośnik CD

Whether one uses the slightly anachronistic term »cantata«, or the more appropriate geistliches Konzert (»sacred concert«) to describe the form of sacred vocal music created during the course of the 17th century in the northern German lands, one is struck, above all, on listening to this music, by the depth of feeling — a blend of humility, pain and anguish — on the one hand, and by the power of the musical composition itself on the other. The Thirty Years' War (1618-1648) was the stage for bloody clashes, joined in the name of religion, attended by their cortege of atrocities, famines and epidemics, resulting not only in destruction, but also, above all, a deep demoralisation. What faith could reside in Man, when his spirit could only hope to find rest in the afterlife? It was a period for reflection on the misery of the human condition, on the precariousness of life, on the futility of engagement, somewhere between culpability and mortification, lucidity and cynicism, doubt and despair.The 17th century in Germany witnessed a power struggle between the solidly anchored traditions and a renewing musical trend, and over the course of a few decades the forces of innovation would move from a marginal position to one of dominance.Religious musical practice consisted largely of plainchant melodies, supplemented by the polyphonic repertoire from the beginning of the century, or even of the previous one. The stile antico was considered more suitable for devotional and reflective purposes. A certain hostility towards the new Italian style, generally considered to be artificial and contrived, was expressed most clearly by the Pietists, led by Johann Arndt. This group — flowing from their conviction that the scriptures and their theological commentary were at first sight impenetrable to the laity, and so were failing to fulfil their pastoral task - insisted on the need for better guidance in bible-reading, encouraged group discussion and individual study of specialist literature, and demanded simplification of the texts and their musical setting. They took issue with the inadequacy, in their ears, of Italian music, comprised as it was of »animal noises«, and recommended rather the use of polyphonic music in the sacred sphere to promote reflection and devotion. Flowing logically from their principles, they also promoted a new form of »spiritual song«, ironically inspired by the Italian strophic aria — the only concession to the stile moderno — as a melodically simple and musically sober form in exclusive service of the comprehension of the text.Opposed to the Pietists in the debate about the role music was to be afforded within the protestant liturgy was an orthodox current decidedly more open to new developments in music. The expressive content of the text as a whole, and its Affekt, were considered more important than its word-by-word comprehensibility. Music, as a gift of God, was the principal conduit for fitting homage to him. An increasingly important element in sacred music would be the representation of emotional drama, requiring a compositional method unashamedly elaborate, even virtuosic, one reinforcing further the role of instruments — and gratifying an existing predilection in Germany for instrumental music.

• Wykonawca Kooij Peter , L'Armonia Sonora
• Data premiery 2011-05-01
• Nośnik CD