Nagrań dokonano w systemie DDD. Wykonawcy: Classical Guitar: Ivan Kalcina, Marco Andreozzi. Kompozytorzy: Francisco Tárrega, Isaac Albéniz, Enrique Granados, Manuel De Falla, Miguel Llobet, Joaquín Turina, Federico Moreno Torroba, Tracklista:   1. Requerdos De La Alhambra Composed By – Francisco Tárrega 2. Capricho Arabe (Serenata) Composed By – Francisco Tárrega 3. Suite Espanola: Seville (Sevillanas) Op. 47/3 Composed By – Isaac Albéniz 4. Suite Espanola: Asturias Op. 47/5 Composed By – Isaac Albéniz 5. Recuerdos De Viaje: Rumores De La Caleta (Malaguena) Op.71/6 Composed By – Isaac Albéniz 6. Mallorca Op. 202 Composed By – Isaac Albéniz 7. Danzas Espanolas: Andaluza Op. 37/5 Composed By – Enrique Granados 8. El Sombrero De Tres Picos: Danza Del Molinero Composed By – Manuel De Falla 9. Melodias Popular Catalana: El Testament D'Amelia Composed By – Miguel Llobet 10. Melodias Popular Catalana: Canco Del'Llarde Composed By – Miguel Llobet 11. Fandanguillo Composed By – Joaquín Turina 12. Suite Castallana (1926):Fandanguillo - Arada - Danza Composed By – Federico Moreno Torroba 13. Seranata Burlesca (1928) Composed By – Federico Moreno Torroba

• Wykonawca Andreozzi Marco
• Data premiery 2019-01-02
• Nośnik CD

Among the many child prodigies that have made their mark in the history of music, Felix Mendelssohn is, along with Mozart, possibly the most impressive. By the age of fifteen he had already composed 13 string symphonies and a number of concertos, and his first ‘proper’ symphony was not far away. He wasn’t just highly productive, however – his contemporaries already recognized the high quality of the works he produced: ‘Felix Mendelssohn composes with the greatest conceivable ease and with inextinguishable abundance of spirit, the most difficult pieces…’ wrote a German reviewer in 1822. Both pieces recorded here were composed with Mendelssohn’s friend and violin teacher, Eduard Ritz, in mind. Felix himself premièred the Double Concerto in D minor with Ritz in May 1823 at one of the famous Sunday concerts at the Mendelssohn residence in Berlin, but except for a second outing later the same year, the work remained unperformed until 1957. Here the piano part – in turn quick-silvery and lyrical – is defended by the Russian-born pianist Polina Leschenko, making her first appearance on BIS. She is partnered by Richard Tognetti, artistic director and leader of the Australian Chamber Orchestra.  Tognetti also leads seven of his colleagues from the ACO in the String Octet in E flat major, which Mendelssohn composed as a birthday present for Eduard Ritz. Written two years after the concerto, the octet only received its first public performance in 1836 but quickly became immensely popular. Although it belongs to the genre of chamber music, Mendelssohn himself underlined that it was to be played ‘in symphonic orchestral style by all the instruments’. He also explored the orchestral potential of the work at a performance of his Symphony No.1 in 1829, replacing the symphony’s minuet with an expanded arrangement of the Octet’s scherzo.

• Wykonawca Leschenko Polina , Tognetti Richard
• Data premiery 2013-03-01
• Nośnik SACD

Winner of one Juno and three Prix Opus from Conseil québécois de la musique, notably “performer of the year” in 2010, Ensemble Caprice is renowned for its innovative interpretations of baroque music. The New York Times even called it “a group that encourages listeners to rehear the world.” This new recording of the Ensemble combines Johann Sebastian Bach’s famous Brandenburg Concertos, composed between 1712 and 1721D , with a few preludes and one fugue by mitri Shostakovich, as arranged by music director Matthias Maute. He explains the daring juxtaposition between the two composers: “When the Russian composer adjudicated at the International Johann Sebastian Bach Competition in Leipzig in 1950, he was deeply impressed by Bach’s two collections of the Welltempered Clavier. Upon returning to Moscow, Shostakovich followed Bach’s example and composed his own cycle of preludes and fugues in all 24 keys. Even though he holds firmly to his own musical language with its tonal liberties, his use of baroque elements provides a constant source of surprise. We have selected and orchestrated one prelude by Shostakovich for each of the Brandenburg Concertos. The First Brandenburg Concerto, however, is preceded instead by a fugue, the wonderful fugue op. 87 No. 7. As a touch of post‐modern thought we have reserved the prelude composed for this fugue to serve as a postlude at the end of the cycle of Brandenburg Concertos. This short but utterly beautiful and contemplative piece eems to be Shostakovich’s final personal comment on Bach’s overwhelming music, as seen from a contemporary point of view.” Under the artistic direction of Matthias Maute and Sophie Larivière, Ensemble Caprice is renowned for its innovative interpretations of baroque music since 20 years. It has received national and international acclaim for its performances of early music. Ensemble Caprice’s most recent albums on the Analekta label have all been highly acclaimed: Gloria! Vivaldi’s Angels won Canada’s prestigious 2009 JUNO award, Telemann and the Gypsies was recommended by Gramophone, Vivaldi and the Baroque GG ypsies had two nominations in 2009 for Echo Klassik awards in ermany. The Ensemble is also the winner of the Audience Appreciation Prize (2008‐2009) and Finalist (2009) of the Grand Prix de Montréal. Matthias Maute has achieved an international reputation as one of the finest recorder and baroque flute player of his generation, as a composer and as a director. Mr. Maute is also esteemed for his artistic direction of Ensemble Caprice, for whom he produces ingenious and fascinating programs.

• Wykonawca Ensemble Caprice
• Data premiery 2012-11-01
• Nośnik CD

Zremasterowane (24 BIT Digitally Remastered) wydawnictwo zawiera 2 kompletne albumy: "The Cats" oraz "Mating Call". Chociaż te nagrania zostały pierwotnie wydane pod kierownictwem Tadda Damerona (1917–1965) i Tommy'ego Flanagana (1930–2001) - obu ważnych postaci jazzowych - główną postacią obu sesji jest bez wątpienia mityczny saksofonista tenorowy John Coltrane (1926–1967). Chociaż związek może nie być oczywisty, te dwa zawarte tu albumy mają coś wspólnego oprócz obecności Coltrane'a i bliskiej daty nagrania; obie  małe grupy (kwartet i sekstet) organizowane są przez utalentowanch pianistów którzy prezentują własne kompozycje. Jeśli Tadd Dameron wydaje się mniej błyskotliwym pianistą niż Flanagan, rekompensuje to jego geniusz jako kompozytora i aranżera. Z drugiej strony kompozycje Tommy'ego Flanagana są nieco mniej wyrafinowane niż kompozycje Damerona, ale bez wątpienia jest on znacznie lepszym interpretatorem. Magia Trane świeci na obu albumach, co można określić jako „środkowy etap” rozwoju muzycznego. Skład zespołów : John Coltrane, tenor sax on all tracks, with (1-6) Mating Call (Prestige ST7070) Tadd Dameron, piano John Simmons, bass Phillu Joe Jones, drums Hackensack, New Jersey, November 30, 1956. All tunes composed by Tadd Cameron (7-11) The Cats (New Jazz LP8217) Idrees Sullivan, trumpet Tommy Flanagan, piano Kenny Burrell, guitar Doug Watkins, bass Louis Hayes, drums Rhythm section only on track 11 Hackensack, New Jersey, April 18, 1957. All tunes composed by Tommy Flanagan excepr track 11, by George & Ira Gershwin Tracklista : 1. Mating Call 5:38 2. Gnid 5:10 3. Soultrane 5:25 4. On A Misty Night 6:24 5. Romas 6:55 6. Super Jet 5:52 7. Minor Mishap 7:28 8. Eclypso 7:59 9. Solacium 9:11 10. Tommy’s Time 11:59 11. How Long Has This Been Going On? 5:59

• Wykonawca Pass Joe
• Data premiery 2020-05-22
• Nośnik Płyta Analogowa

Album "Songs '77-'79" to zbiór ośmiu utworów z trzech lat przed monumentalnym albumem Glenna Branca "The Ascension", w którym Branca zaczyna używać zmasowanych gitar elektrycznych oraz wydźwięki. Te utwory są najwcześniejszymi emanacjami rockowymi napisanymi przez Branca, zapowiadającymi ogromną domenę postmodernistycznego rocka.  Utwory '77 -'79 to pozycja obowiązkowa dla każdego fanatyka Branca, wielu fanów Sonic Youth, a także dla tych, którzy są ciekawi brakujących powiązań między erą halcyon no wave i początkiem sceny Nowego Jorku w centrum lat 80. Amerykański awangardowy kompozytor i gitarzysta Branca jest znany ze swojej głośności, alternatywnych strojów gitarowych, powtórzeń, dronowania i serii harmonicznych. W 2008 roku otrzymał nieograniczony grant Fundacji Sztuki Współczesnej. Wykonawcy: Composed By – Glenn Branca Performer (The Static) – Barbara Ess, Christine Hahn, Glenn Branca Performer (Theoretical Girls) – Glenn Branca, Jeff Lohn, Margaret DeWys, Wharton Tiers  Tracklista:  1. The Static Don't Let Me Stop You 2. The Static My Relationship 3. Theoretical Girls You Got Me  4. Theoretical Girls Jill  5. Theoretical Girls Fuck Yourself Featuring, Saxophone – John Rehberger 6. Theoretical Girls Tv Song 7. Theoretical Girls You 8. Theoretical Girls Glazened Idols 

• Wykonawca Branca Glenn
• Data premiery 2020-01-16
• Nośnik CD

The 2 cello concertos are very different. The Concerto No. 1 is rather popular. Many composers, including Shostakovich and Rachmaninoff, considered this concerto to be the greatest of all cello concertos.The 2nd Concerto never became very popular, probably because it is very difficult to play (as the composer himself already admitted)The Suite and the Allegro Passionata were originally composed for Cello and Piano but later on orchestrated by Saint-Saëns

• Wykonawca Walevska Christine
• Data premiery 2011-08-01
• Nośnik SACD

The English anonymous fifteenth-century Missa Caput at the centre of this disc is probably the most significant work from the period. It was copied all across Britain and the Continent and was largely responsible for the universal adoption of the 'parody mass' technique and of today's standard four-part choir arrangement. It is a work of great stature and beauty, in this performance interspersed with a curious Latin poem which describes how two small boys composed the Salve regina antiphon while languishing in Hell. (The poem has recently been discovered and is the subject of a forthcoming monograph by Christopher Page.)

• Wykonawca Gothic Voices
• Data premiery 2010-01-01
• Nośnik CD

Matthias Bamert and the London Mozart Players here present a selection of symphonies by Luigi Boccherini. None of the symphonies is well known and they are seldom recorded. Luigi Boccherini was born in 1743 in Lucca. He was to become one of the greatest cellists of his time, and travelled all over Europe giving virtuoso performances. His compositional genius only fully emerged when he took up permanent residence at the court of the Infante Don Luis in Spain. He is most associated with chamber music, especially the string quintet. But his output also included about thirty symphonies. Three have been recorded here. Nos 3 and 8 were composed for Don Luis in 1771, whereas No. 21 was written for King Friedrich Wilhelm of Prussia in 1786. The Contemporaries of Mozart series is one of the longest-running on Chandos and offers performances of rarely recorded works, played by an orchestra which understands this repertoire completely.

• Wykonawca London Mozart Players
• Data premiery 2010-01-01
• Nośnik CD

Album został wydany przez wytwórnię Challenge Classics (CC 72791). All works originally composed for piano arranged for two romantic Viennese guitars by Duo Morat-Fergo.

• Wykonawca Morat Raoul , Fergo Christian
• Data premiery 2018-10-01
• Nośnik CD

Symphony for Cello and Orchestra, Op. 68 Each of the four creative periods of Britten’s prolific career culminated in a major large-scale work. His full maturity was signalled by Peter Grimes (1945), the second and third creative periods ended with the War Requiem (1961) and Death in Venice (1973), and his brief Indian summer flowered in one of his very finest chamber works, the Third String Quartet. The two works featured on this disc frame his third creative period. After the War Requiem Britten embarked on a period of experimentation and expansion of techniques – a period that saw the composition of some of his most original works: the Cantata Misericordium, the Three Church Parables, the Songs and Proverbs of William Blake and A Poet’s Echo. Two considerable masterpieces belong to these years, Curlew River (the first of the Parables) and the Symphony for Cello and Orchestra The Cello Symphony was completed in May 1963 and was one of a series of works (including the Sonata in C and three suites for unaccompanied cello) that Britten composed for, and dedicated to, Mstislav Rostropovich. It was the first purely instrumental work of such imposing scale that Britten had composed since the early 1940s. The opening D minor Allegro maestoso is also Britten’s most substantial sonata-allegro in terms of scale and content. The contrapuntal G minor scherzo (Presto inquieto) exploits a three-note scalic motif contained within a minor third. Thirds also predominate in the intense, elegiac Adagio, in which the principal theme is constructed entirely from a descending sequence of melodic thirds. The second subject, shared between the cello and solo horn, anticipates the Passacaglia finale, where the trumpet tune (shades of Prokofiev and Janáˇcek) is subjected to six variations and a coda over a ground bass. The most important distinction to be made between Britten’s early concertos and the Cello Symphony is in the relationship between the soloist and the orchestra. Whereas in the bravura Piano Concerto (1938) and even in the more intense Violin Concerto (1939) the soloist assumes the traditional stance, being removed from and in dramatic conflict with the orchestra, in the Cello Symphony the soloist is a virtuosic yet integral part of a coherent symphonic design. The relationship is that which Britten had already explored in the Sonata for Cello and Piano that he had composed for Rostropovich in 1960. An age-old problem in writing for the cello as a solo instrument in the context of a full symphony orchestra is the difficulty of balancing the textures in such a way that the soloist can be heard. But the cello’s most expressive range is that which corresponds with the tessitura of the tenor voice, and Britten certainly knew how to discipline orchestral forces to allow the tenor voice to carry without force. A remarkable feature of the orchestration of the Cello Symphony is the melodic importance of the bass-Iine and the upper woodwind. The middle register of the orchestra is freed for the soloist. In this respect the orchestral palettes of the Cello Symphony and Death in Venice (whose principal protagonist, Gustav von Aschenbach, is sung by a tenor) have a great deal in common. © John Evans

• Wykonawca Wallfisch Raphael
• Data premiery 2013-05-01
• Nośnik CD