Masses by Frye and Plummer from the Brussels 5557 manuscript. The manuscript Brussels 5557 was probably compiled for the marriage of Charles the Bold, Duke of Burgundy, and Margaret of York in July 1468. A number of illuminations, including one at the start of Missa Flos Regalis, develop a theme of chastity and fidelity which accords with the nuptial spirit. However, the music itself belongs to the 1450s or even earlier. These masses are the late-bottled vintage of a style which, in a poem of circa 1440, Martin le Franc refers to as 'la contenance angloise'. They are harmonically rich and fruity, but built to last. The two masses on this recording are complemented by motets by a thiurd English composer, John Bedyngham.


  • Wykonawca Wickham Edward
  • Data premiery 2006-03-07
  • Nośnik CD

Tracklista:1. Blue Soul Dark Road2. Museum of Childhood3. Elegy for Johnny Cash4. The Law of the Tide5. All the Rage6. No Honour in This Love7. Vibration White Finger8. King of the Barley9. And You'll Never Hear Surf Music Again10. In Memory of My Mother11. Gladly Go Blind12. Why Log Truck Drivers Rise Earlier Than the Students of Zen


  • Wykonawca Leven Jackie
  • Data premiery 2005-09-12
  • Nośnik CD
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This Tchaikovsky album is a continuation of the successful cycle which PentaTone started to release in 2011. The symphonies No’s 4, 5 and 6 were released this year and were all receiving critical acclaim. No.5 was CD of the month in BBC Music Magazine. The Russian National Orchestra conducted by Pletnev recorded these works earlier for Deutsche Gramophone and the reviewers generally are of the opinion that the PentaTone cycle is better than that of DG. Symphony 2 and 3 will follow later in 2012, so the cycle will be complete by the end of 2012. Here are some quotes from reviews of the last release (Symphony No. 6)


  • Wykonawca Various Artists
  • Data premiery 2012-04-01
  • Nośnik SACD

Just as the seventeenth century saw the rise of the trio sonata to its position as the most important chamber music form, so the eighteenth century saw its decline and eventual demise. The seventh and penultimate disc in London Baroque’s highly acclaimed survey of the genre through the two centuries lets us sample these later developments in Italy, the nation where the genre had evolved some 100 years earlier. We do so through works by composers who are well-known (Vivaldi), unknown (Bonporti), known for the wrong reasons (Albinoni never composed the famous – or infamous – Adagio) and ignored by mistake (the trio sonata that inspired Stravinsky to compose Pulcinella was by Domenico Gallo and not by Pergolesi, as was long believed). Among our Italians are Locatelli and Tartini, two of the great violinist-composers of the period, as well as a trio largely active in musical centres outside of Italy: Bononcini, Sammartini and Porpora, who taught the young Haydn in Vienna in the 1750’s. Together their compositions come to form a mosaic, where proud traditions from Corelli and earlier (as seen in Vivaldi’s Folia and Albinoni’s dance suite) are gradually superseded by rococo traits.


  • Wykonawca London Baroque
  • Data premiery 2013-03-01
  • Nośnik CD
Więcej

The Third Symphony was first performed in January 1930, its final movement setting a text by Semyon Isaakovich Kirsanov praising May Day and the revolution. Shostakovich stated that the work “expresses the spirit of peaceful reconstruction” and yet much of the music is dark and sombre in tone. The Tenth Symphony is one of his most popular and frequently heard works. It was first performed in December 1953 following the death earlier that year of Stalin, although Shostakovich had been working on much of the material incorporated in the symphony for many years. The great Russian soprano Galina Vishnevskaya claimed that the symphony was "a composer’s testament of misery, forever damning a tyrant".


  • Wykonawca Various Artists
  • Data premiery 2012-04-01
  • Nośnik CD

The BBC Symphony Orchestra under Edward Gardner, music director of English National Opera and an exclusive Chandos artist, presents Volume 2 of their Polish Music series; a disc dedicated to vocal works by Witold Lutosławski. They are joined by the soloists Lucy Crowe, Toby Spence, and Christopher Purves in looking at some of the composer’s earlier works for voice and orchestra as well as three major works written after 1960: Paroles tissées, Les Espaces du sommeil and Chantefleurs et Chantefables. Among the earlier pieces, Lacrimosa is the only surviving fragment of an intended Requiem and the only sacred work in Lutosławski’s output. In complete contrast, the Silesian Triptych was written at the height of the post-war Soviet doctrine that called for music that connected with the broad masses. In this folk-based work, Lutosławski takes three Silesian songs about the trials of love, giving them sparkle as well as depth to lift them above the mundanity of everyday life. Both works here feature the soprano soloist Lucy Crowe. When Poland finally emerged from the cultural oppression of the post-war decade, its music scene flourished. For Lutosławski, it was a time for personal development. In the first half of the 1960s his music had a raw energy, but by 1965 it had developed a much more subtle tone. Paroles tissées, in which the tenor soloist here is Toby Spence, simply accompanied by strings, harp, and piano, was the first work really to show this new subtlety in his works. Les Espaces du sommeil, with the baritone soloist Christopher Purves, is another prime example of the new lyrical quality that came to colour many of Lutosławski’s later orchestral works. Chantefleurs et Chantefables is made up of nine charming and humourous songs which, inspired by the collection of childrens’ poems by the surrealist Robert Desnos, explores the vivid imagery and bright colours of the natural world through the innocent eyes of a child.


  • Wykonawca Crowe Lucy
  • Data premiery 2011-08-01
  • Nośnik CD
Więcej

This obvious yet rare coupling brings together the larger two of Schumann's three Piano Sonatas, their passionate intensity suiting perfectly Nikolai Demidenko's style of playing. The disc has the added bonus of containing an additional Scherzo and two Variations from Schumann's earlier thoughts on the Op 14 Sonata. 'A pair of performances which can justly be described in terms of superlatives. Outstanding readings of remarkable works' (Classic CD)


  • Wykonawca Demidenko Nikolai
  • Data premiery 2008-03-01
  • Nośnik CD
Więcej

Using a reduced orchestra, unusually without any lower brass, Mahler’s Fourth Symphony is influenced by the trend to revive the classical style of Haydn and Mozart, as a reaction against the monumental ‘Wagnerian’ romanticism of its predecessors. The work is based around the final movement, written some years earlier – its childish and naïve text giving shape to the other movements.


  • Wykonawca Various Artists
  • Data premiery 2012-04-01
  • Nośnik SACD

This obvious yet rare coupling brings together the larger two of Schumann's three Piano Sonatas, their passionate intensity suiting perfectly Nikolai Demidenko's style of playing. The disc has the added bonus of containing an additional Scherzo and two Variations from Schumann's earlier thoughts on the Op 14 Sonata. 'A pair of performances which can justly be described in terms of superlatives. Outstanding readings of remarkable works' (Classic CD)


  • Wykonawca Demidenko Nikolai
  • Data premiery 2008-03-01
  • Nośnik CD
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