4 - płytowe nowe wydawnictwo Reel To Reel przedstawia aż 8 klasycznych oryginalnych albumów genialnego amerykańskiego pianisty jazzowego i kompozytora Theloniousa Monka. Są to albumy : "Monk", "Monk's Music", "Thelonious Monk Plays The Music Of Duke Ellington", "The Unique Thelonious Monk", "Mulligan Meets Monk", "Thelonious Monk And Sonny Rollins", "Art Blakey's Jazz Messngers With Thelonious Monk" i "Thelonious Monk Trio".  Cały materiał zawiera aż 55 utworów i został zremasterowany (Digitally Remastered). Opakowano w gustowny, elegancki, rozkładany digipack. Tracklista:  CD 1: "Monk" (1954) 1. We See 2. Smoke Gets In Your Eyes 3. Locomotive 4. Hackensack 5. Let's Call This 6. Think Of One (Take 2) 7. Think Of One (Take 1) "Monk's Music" (1957) 8. Abide With Me Composed By – W H Monk* 9. Well, You Needn't 10. Ruby, My Dear 11. Off Minor 12. Epistrophy 13. Crepuscule With Nellie CD 2: "Thelonious Monk Plays The Music Of Duke Ellington" (1955) 1. It Don't Mean A Thing ( If It Ain't Got That Swing ) 2. Sophisticated Lady 3. I Got It Bad And That Ain't Good 4. Black And Tan Fantasy 5. Mood Indigo 6. I Let A Song Go Out Of My Heart 7. Solitude 8. Caravan "The Unique Thelonious Monk" (1956) 9. Liza (All The Clouds'll Roll Away) Composed By [Uncredited] – George & Ira Gershwin 10. Memories Of You Composed By [Uncredited] – Andy Razaf, Eubie Blake 11. Honeysuckle Rose Composed By [Uncredited] – Andy Razaf, Fats Waller 12. Darn That Dream Composed By [Uncredited] – Eddie Delange, Jimmy Van Heusen 13. Tea For Two Composed By [Uncredited] – Irving Caesar, Vincent Youmans 14. You Are Too Beautiful Composed By [Uncredited] – Rodgers & Hart 15. Just You, Just Me Composed By [Uncredited] – Jesse Greer, Raymond Klages CD 3: "Mulligan Meets Monk" (1957) 1. Round Midnight Composed By – Bernie Hanighen, Cootie Williams, Monk* 2. Rhythm-A-Ning 3. Sweet And Lovely Composed By – Gus Arnheim, Harry Tobias, Jules LeMare* 4. Decidedly Composed By – Mulligan* 5. Straight, No Chaser 6. I Mean You Composed By – Hawkins*, Monk* "Thelonious Monk And Sonny Rollins" (1954) 7. The Way You Look Tonight Composed By – Dorothy Fields, Jerome Kern 8. I Want To Be Happy Composed By – Irving Caesar, Vincent Youmans 9. Work 10. Nutty 11. Friday The 13th CD 4: "Art Blakey's Jazz Messengers With Thelonious Monk" (1957) 1. Evidence 2. In Walked Bud 3. Blue Monk 4. I Mean You Composed By – Coleman Hawkins 5. Rhythm-A-Ning 6. Purple Shades Composed By – Johnny Griffin "Thelonious Monk Trio" (1957) 7. Blue Monk 8. Just A Gigolo Composed By – Irving Caesar, Julius Brammer, Leonello Casucci 9. Bemsha Swing 10. Reflections 11. Little Rootie Tootie 12. Sweet And Lovely Composed By – Gus Arnheim, Harry Tobias, Jules LeMare* 13. Bye-Ya 14. Monk's Dream 15. Trinkle Tinkle 16. These Foolish Things Composed By – Harry Link, Holt Marvell, Jack Strachey  

• Wykonawca Monk Thelonious
• Data premiery 2018-10-22
• Nośnik CD

Edward Elgar's masterly Enigma Variations are undoubtedly his most famous work of and is also the first major piece he composed. The Enigma Variations brought him international recognition and brought England back on the musical map. Elgar composed the variations in 1899. In the 13 variations and finale the composer characterizes some of his friends, identified only by their initials - so to the public, this was initially a mystery, an "enigma" as to who it was. But Elgar also spoke about a “well-known tune” which he hid in his composition, which to this date has gone undiscovered – so indeed, there is a second “enigma” as well.  In spite of whatever puzzle the composer may have intended, the work of highly effective, well structured, well orchestrated, colorful, and compelling. The symphonic study "Falstaff", rarely performed these days, was written in 1913,shortly before the outbreak of World War II. The theme is of course, Shakespeare’s Falstaff, as he appeared in "Henry IV" and his sad progress from boon companion of Prince Hal, to his lonely exile, remembering when he a heard the “chimes at midnight.”

• Wykonawca Various Artists
• Data premiery 2011-06-01
• Nośnik CD

Throughout his 82-year life, Max Bruch remained true to the musical ideals of his youth, formed by Schubert, Mendelssohn, Schumann and German folk songs. As a result, the same composer who in the 1880’s was regarded as Brahms’ equal, by the time of his death in 1920 was considered an anachronistic irrelevance. Nowadays, however, few would deny that his production includes numerous works of exquisite sonority, beautiful melodiousness and admirable formal cohesion: a glorious irrelevance indeed. His Violin Concerto No. 1 was a spectacular success from its first performance in 1868, and soon won over audiences both in Germany and abroad. In fact, it became so popular that Bruch in later years became increasingly worried about being considered a ‘one-hit wonder’. It is thus a staple of all violin soloists that Vadim Gluzman here takes on, after his recordings of the concertos by Tchaikovsky (‘without doubt one of the work's finest recordings in recent years’, BBC Music Magazine),  Barber (‘one of the most beautiful and characterful recordings of this work’, klassik-heute.de) and Korngold (‘Gluzman’s playing lends the work a new vitality and cohesion’, Classica). Supported by the eminent Bergen Philharmonic Orchestra and its music director Andrew Litton, Gluzman couples the work with a rarity, a violin version of the Romance in F major, Op.85, composed by Bruch for viola and orchestra almost 35 years after the violin concerto. The composer also made an arrangement for violin and piano, and it is this violin part which Gluzman performs to the original orchestral score. Closing the programme is the String Quintet in A minor in which Gluzman is joined by four eminent string players: Sandis Šteinbergs, Maxim Rysanov, Ilze Klava and Reinis Birznieks. Composed in 1918, the Quintet certainly offers no indication of being the exact contemporary of modernist works such as Stravinsky’s Histoire d’un soldat; on the other hand its almost youthful energy, dramatic instinct and playful exuberance equally belies the fact that it was composed by a man in his eightieth year

• Wykonawca Gluzman Vadim
• Data premiery 2011-02-01
• Nośnik SACD

5 CDs for the price of 2 During the mid-19th century, the Danish composer Niels. W. Gade was one of Europe’s most well-known composers, conducting his own works all over the continent. Starting out as a protégé of Mendelssohn’s, he later became his successor as music director of the famous Leipzig Gewandhaus Orchestra, and made the acquaintance of Robert and Clara Schumann, and of Liszt and Wagner. Initially known as a composer of symphonies, Gade mastered the German musical idiom to perfection, while adding a Nordic accent to it, particularly noticeable in his best works. His eight symphonies were composed between 1841 and 1871, and although Gade remained active as a composer until his death in 1890, he wrote no more symphonies. When questioned, he is said to have stated that ‘there is but one Ninth Symphony!’ Among Gade’s works in other genres is the violin concerto (also included here), composed for the famous virtuoso Joseph Joachim. But it was the choral cantata genre which became his specialty. Such works generally utilized Danish texts, but were in many cases published in German translations and received numerous performances abroad. Within a year of its première, The Crusaders, for instance, was performed in Braunschweig, Vienna, Königsberg, Elberfeld, Breslau, Leipzig and Aachen. It would later reach even further afield – including New York and Buenos Aires – and Gade himself conducted performances in Amsterdam, Cologne and Birmingham. The recordings included in this box set were warmly received upon their original releases between 1986 and 1994, the reviewer in American Record Guide calling Neeme Järvi’s symphony cycle ‘a set which is not likely to be surpassed in the foreseeable future’ and Neue Zeitschrift für Musik giving it ‘an unqualified recommendation’.

• Wykonawca Pontinen Roland , Korsfarerne , Da Camera , Kontra Anton , Westi Kurt , Rorholm Marianne
• Data premiery 2010-01-01
• Nośnik CD

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

• Wykonawca Spanyi Miklos , Concerto Armonico
• Data premiery 2013-03-01
• Nośnik CD

The first recording by Yannick Nézet-Séguin and the Rotterdam Philharmonic Orchestra for BIS centred on Berlioz’ Symphonie Fantastique, a work which stands squarely on the threshold between Classicism and Romanticism. Nézet-Séguin’s interpretation brilliantly demonstrated this ambivalence, as the reviewer in CD Review on BBC Radio 3 remarked: ‘A Fantastic Symphony that relishes in the transparency and the delicacy of Berlioz's scoring while remaining true to its vivid imagination and dramatic punch’. On the follow-up to that exciting release is another work that straddles a musical divide, namely Richard Strauss’ Four Last Songs. Composed in 1948, these late blooms of an unabashed Romanticism stood in the midst of a musical landscape which featured the twelve-tone serialism of the Darmstadt School, John Cage’s prepared piano and the first examples of musique concrète. In accordance with Strauss’s wish, it was the dramatic soprano Kirsten Flagstad who first performed the songs, but they also became closely associated with Elisabeth Schwarzkopf. On the present recording, it is Dorothea Röschmann, one of today’s foremost Mozart sopranos who lends her voice to what is often regarded as an expression of the composer’s acceptance of death’s inevitability, at the age of eighty-four. We meet Strauss in a completely different mood in the disc’s opening work – the large-scale symphonic poem Ein Heldenleben (A Hero's Life) composed fifty years before the songs. By casting himself in the role of the Hero, Strauss managed to provoke generations of music-lovers for years to come. A study of aggressive egotism, the work has been called, as well as the most conceited piece of music ever written. But it is also widely regarded as one of the most brilliant, and virtuosic, orchestral scores in the history of music, displaying the possibilities of a large symphony orchestra to the fullest.

• Wykonawca Roschmann Dorothea
• Data premiery 2011-05-01
• Nośnik SACD

‘The most gripping Dvořák to come along in many years’ is how website Classics Today described the recently released disc with the composer’s Seventh Symphony, performed by Claus Peter Flor and the Malaysian Philharmonic Orchestra. This was quickly followed by the same team’s recording of Symphony No.8, and now the turn has come to Antonín Dvořák’s final work in the genre: Symphony No.9 – the ‘New World Symphony’. It was composed entirely on American soil, and the composer himself acknowledged that it ‘would not have been written this way if I had never seen America’. Nevertheless, and contrary to what is often claimed, he also maintained that he had not used any existing material, but ‘simply written original themes embodying the peculiarities of the Indian music’, developing them ‘with all the resources of modern rhythms, harmony, counterpoint and orchestral colour.’ Those themes, and Dvořák’s use of them, have exercised an irresistible attraction on audiences, ever since the first triumphant performance in 1893 at New York’s Carnegie Hall. The following year, Dvořák himself conducted the first Czech performance of the symphony. Perhaps to demonstrate to his compatriots in the audience that his heart nevertheless remained in his homeland, the composer included the overture Můj domov (My Home), composed some ten years previously. Part of the incidental music for a play, the overture is based on two popular songs, one of which, Kde domov můj (Where Is My Home), would later become the Czechoslovakian national anthem. On the present recording these two works frame another of Dvořák’s ‘nationalistic’ works, the light-hearted Czech Suite, consisting of five movements, all based on the dance rhythms of Bohemia, Moravia and Central Europe.

• Wykonawca Various Artists
• Data premiery 2012-10-01
• Nośnik CD

Recognized as one of the great communicators on the concert stage today, Steven Isserlis has written the liner notes to this disc, his third release on BIS, noting that the bond between the works he has chosen to record is their tragic inspiration – ‘the most terrible, senseless conflict the world has ever known.’ The conflict in question is the First World War, and Ernest Bloch’s Schelomo and Frank Bridge’s Oration, subtitled ‘Concerto Elegiaco’, spring directly from their creators’ reactions to its ‘grey hopelessness and the mindless, irreplaceable waste’. Schelomo was composed during the war itself, inspired by the boundless despair expressed in the text of Ecclesiastes: ‘Vanity of vanities, saith the Preacher, vanity of vanities…’ Bloch, who had originally intended to use the text itself in the work changed his mind after an encounter with the Russian cellist Alexander Barjansky. Naming it after King Salomo, traditionally regarded as the author of Ecclesiastes, Bloch created what has become one of the most frequently performed works for cello and orchestra from the 20th century. Less well-known, but no less deeply felt, is Oration, composed in 1930 by Frank Bridge, whose early works had been in a traditional vein with influences from Fauré and Brahms. A convinced pacifist, Bridge had been horrified by the war, and this greatly contributed to the radical changes in his musical language. One of the finest examples of this is the present ‘Concerto Elegiaco’, which Steven Isserlis describes as ‘taking us, almost cinematically, into the mud and slaughter of the battlefields, its cries of brutal suffering forming a musical protest.’ Closing the programme is The Loneliest Wilderness, a work which takes its title from a poem by Herbert Read published in 1919. More than eighty years later Stephen Hough, who as a pianist has collaborated extensively with Isserlis, composed his elegy, but it still resonates with the anguish of the Great War.

• Wykonawca Isserlis Steven , Tapiola Sinfonietta
• Data premiery 2013-02-01
• Nośnik SACD

2-płytowy album został zarejestrowany w systemie DDD 28 września 1992 r. W Scottsdale Mall Amphitheatre podczas trasy koncertowej Tangerine Dream North American. Nagrania mają doskonałą jakość dźwięku, a Koncert obejmował wersje na żywo kompozycji zaczerpniętych z albumów studyjnych i ścieżek dźwiękowych „Risky Business” (1984), „Melrose” (1990) i „Rockoon” (1992), a także dwie kompozycje, które zostaną wydane później na albumach „Turn Of The Tides” (1994) i „Oasis” (1997). Z kolei Dziewięć innych kompozycji nigdy nie zostało wydanych na albumach studyjnych. Skład zespołu:  Guitar – Zlatko Perica Keyboards, Guitar, Mastered By, Composed By – Jerome Froese Keyboards, Saxophone – Linda Spa Producer, Keyboards, Guitar, Artwork By [Cover], Composed By – Edgar Froese Tracklista:  CD 1 1. Waterborne 2. Touchwood 3. Rolling Down Cahuenga 4. The Bull Bridge 5. Oriental Haze 6. Graffiti Street 7. Melrose 8. Two Bunch Palms 9. 220 Volt 10. Homeless CD 2 1. Story Of The Brave 2. Sundance Kid 3. Girls On Broadway 4. Love On A Real Train 5. Backstreet Hero 6. Body Corporate 7. Rockoon 8. One Night In Medina 9. Hamlet Dreamtime 10. Purple Haze

• Wykonawca Tangerine Dream
• Data premiery 2019-11-15
• 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 Coltrane John , Dameron Tadd , Flanagan Tommy , Burrell Kenny , Jones Philly Joe
• Data premiery 2020-05-22
• Nośnik CD