Tracklista:1. Lantern2. Goodbye Day3. Love's Tale4. Staring at the Sky5. Eyes from Tears6. Chasing the Light7. Closer8. Be the First9. Hospitality for Hope10. Hold My Hand

• Wykonawca Stylusboy
• Data premiery 2014-07-21
• Nośnik CD / Album

Tracklista:1. Frenesi2. Scrub Me Mama With a Boogie Beat3. A Nightingale Sang in Berkley Square4. We Three5. Only Forever6. Five O'clock Whistle7. Down Argentina Way8. Anvil Chorus from 'Il Trovatore'9. I Hear a Rhapsody10. Ferry-boat Serenade11. There I Go12. Star Dust13. Along the Santa Fe Trail14. I Hear a Rhapsody15. There I Go16. Yes My Darling Daughter17. Perfidia18. You Walk By19. Beat Me Daddy (Eight to the Bar)20. High On a Windy Hill21. Summit Ridge Drive22. Concerto for Clarinet1. It All Comes Back to Me Now2. High On a Windy Hill3. Song of the Volga Boatman4. Oh Look at Me Now5. I Hear a Rhapsody6. Dancing in the Dark7. Amapola8. I Dreamt I Dwelt in Harlem9. New San Antonio Rose10. Blue Flame11. It All Comes Back to Me Now12. There'll Be Some Changes Made13. Do I Worry14. Music Makers15. The Wise Old Owl16. Intermezzo17. Alexander the Swoose (Half Swan-half Goose)18. Dolores19. Dolores20. G'bye Now21. I'll Be With You in Apple Blossom Time22. Everything Happens to Me23. My Sister and I1. Let's Get Away from It All2. Green Eyes (Aquellos Ojos Verdes)3. The Band Played On4. Maria Elena5. Until Tomorrow (Goodnight My Love)6. Yours (Quiereme Mucho)7. Daddy8. Maria Elena9. The Hut-sut Song (A Swedish Serenade)10. The Hut-sut Song (A Swedish Serenade)11. Maria Elena12. Intermezzo13. The Things I Love14. The Hut-sut Song (A Swedish Serenade)15. Yes Indeed! (De Verdad Que Si!)16. Goodbye Dear, I'll Be Back in a Year17. 'Til Reveille18. Blue Champagne19. The Booglie Wooglie Piggy20. Just a Little Bit South of North Carolina21. Intermezzo22. Piano Concerto in B Flat23. 'Til Reveille1. Lament to Love2. You and I3. Let Me Off Uptown4. You and I5. Chattanooga Choo Choo6. I Don't Want to Set the World On Fire7. I Don't Want to Set the World On Fire8. Jim9. Jim10. Elmer's Tune11. I Don't Want to Set the World On Fire12. This Love of Mine (Este Amor Mio)13. Time Was (Duerme)14. You Made Me Love You (I Didn't Want to Do It)15. Elmer's Tune16. Tonight We Love (Concerto No. 1 B Flat Minor)17. Blues in the Night18. Shepherd Serenade19. Shepherd Serenade20. Two in Love21. Jingle Bells22. This Is No Laughing Matter23. White Cliffs of Dover

• Wykonawca Various Artists
• Data premiery 2016-07-08
• Nośnik CD

Tracklista:1. Any Other Nite2. Star3. Pictures With Rene4. Friday Nite Vineland5. TRU Wolfpack6. Nervous7. Love's Made a Fool of U8. Pennies 4 U9. Summer Girls10. (Greetings From) California-underneath-the-sea

• Wykonawca The Dates
• Data premiery 2019-12-31
• Nośnik Płyta Analogowa

Wydanie specjalne świetnie przyjętej kompilacji „My Songs”, na której Sting przedstawił swoje największe przeboje nagrane solo i z The Police w nowoczesnych wersjach. Na rozszerzonym wydaniu znalazło się dodatkowe CD z koncertowymi nagraniami z „My Songs World Tour”. Koncertowe kompozycje Sting wykonał wraz z zespołem w składzie Dominic Miller (gitara), Josh Freese (perkusja), Rufus Miller (gitara), Kevon Webster (klawisze), Shane Sager (harmonijka. oraz Gene Noble i Melissa Musique (chórki). Za miks „My Songs” odpowiada czterokrotny laureat Grammy Robert Orton (Lana Del Rey, Mumford & Sons), a materiał koncertowy zmiksował laureat Grammy Tony Lake (Sting, Shaggy). Tracklista: CD 1 1. Brand New Day 2. Desert Rose 3. If You Love Somebody Set Them Free 4. Every Breath You Take 5. Demolition Man 6. Can’t Stand Losing You 7. Fields of Gold 8. So Lonely 9. Shape Of My Heart 10. Message In a Bottle 11. Fragile 12. Walking On The Moon 13. Englishman In New York 14. If I Ever Lose My Faith 15. Desert Rose  (2019 version Dave Aude Extended Remix.  – Bonus Track CD 2 Recorded Live from MY SONGS TOUR 2019 1. Introduction/Message In A Bottle (Live) 2. Englishman In New York (Live) 3. Brand New Day (Live) 4. Wrapped Around Your Finger (Live) 5. Seven Days (Live) 6. King Of Pain (Live) 7. So Lonely (Live) 8. Desert Rose (Live) 9. Every Breath You Take (Live) 10. Russians (Live) 11. Fragile (Live) Recorded Live from The Olympia Paris, 2017 12. Roxanne (Live) 13. Synchronicity II (Live) 14. Next To You (Live) 15. Spirits In The Material World (Live) 16. I Can't Stop Thinking About You (Live)

• Wykonawca Sting
• Data premiery 2019-11-08
• Nośnik CD

Tracklista: 1. Father's Fate2. The West in Hell3. Gallows4. Nostalgia5. Spirit of Brother6. From Life to Death7. Ayanna Dies8. Mother's Pain9. Dilemma10. Her Paradise11. Skah's Limbo

• Wykonawca Skahinall
• Data premiery 2019-02-22
• Nośnik CD

Tracklista:1. Of old when heroes thought it base (Yorkshire Feast Song), ode for soloists, chorus & instruments, Z. 333: The Bashful Thames2. Of old when heroes thought it base (Yorkshire Feast Song), ode for soloists, chorus & instruments, Z. 333: So When the Glitt'ring Que3. Lord, what is man?, sacred song for soprano & continuo, Z. 1924. Pavan for 2 violins & continuo in B flat major, Z. 7505. Sonata in 3 parts for two violins, bass viol & continuo No. 2 in B flat major, Z. 791: 1.6. Sonata in 3 parts for two violins, bass viol & continuo No. 2 in B flat major, Z. 791: 2. Largo / Presto7. Sonata in 3 parts for two violins, bass viol & continuo No. 2 in B flat major, Z. 791: 3. Adagio / Vivace8. Sonata in 3 parts for two violins, bass viol & continuo No. 2 in B flat major, Z. 791: 4. Allegro9. Cupid, the slyest rogue alive, song, Z. 36710. O lead me to some peaceful gloom (from 'Bonduca'), song, Z. 574/1711. Dry those eyes (from 'The Tempest'), soprano aria, Z. 631/712. O solitude, my sweetest choice, song, Z. 40613. Amidst the shades and cool and refreshing streams, for soprano & continuo, Z. 35514. When first Amintas sued for a kiss, song, Z. 43015. Sonata in 4 parts for two violins, bass viol & continuo No. 9 ('The Golden Sonata') in F major, Z. 810: 1. Allegro Moderato16. Sonata in 4 parts for two violins, bass viol & continuo No. 9 ('The Golden Sonata') in F major, Z. 810: 2. Canzona17. Sonata in 4 parts for two violins, bass viol & continuo No. 9 ('The Golden Sonata') in F major, Z. 810: 3. Grave18. Sonata in 4 parts for two violins, bass viol & continuo No. 9 ('The Golden Sonata') in F major, Z. 810: 4. Allegro19. Tell me, some pitying angel, (The Blessed Virgin's Expostulation), sacred song, for soprano & continuo, Z. 19620. Fly swift, ye hours, song, Z. 36921. The self-banish'd (A Minuet)22. It Grieves Me23. 'Twas within a furlong (from 'Mock Marriage'), song, Z. 605/224. Welcome, welcome, every guest: Prologue

• Wykonawca Brandes Christine
• Data premiery 2014-12-04
• Nośnik CD

Torun Eriksen to norweska wokalistka i kompozytorka  od  lat związana ze znana skandynawską wytwórnią Jazzland Records. Znakiem rozpoznawczym Torun są nastrojowe, melodyjne kompozycje i emocjonalne, poetyckie teksty. Album „Passage”   to trzecia płyta nagrana dla Jazzlandu  po “Prayers & Observations” w 2006 i debiutanckim albumie „Glittercard” - Jazzland 2003. Na płycie znajduje się 9 nagrań będących autorskimi kompozycjami Torun czasem przy współudziale muzyków z zespołu. Artystka sama także zadbała o aranżacje nagrań.Lista utworów:1. Be Like Him2. Passage From The Past3. Umbrella Song4. Baby And Her Babe5. Edgar’s Blues6. Bees And Butterflies7. Draw Me A Heart8. Deuce Parade9. White Lies

• Wykonawca Eriksen Torun
• Data premiery 2011-05-13
• Nośnik CD

Although Britten is particularly celebrated for the substantial body of music he composed for the tenor voice—almost all of it directly inspired by the artistry of his long-term partner and creative muse, Peter Pears—the composer also left an important legacy of music for baritone. Characteristically, Britten’s output for low voice was also inspired by the talents of specific performers with whom he was closely associated, among them Dietrich Fischer-Dieskau, John Shirley-Quirk, Owen Brannigan and Benjamin Luxon. In addition to song-cycles, individual songs and folksong arrangements, Britten wrote challenging baritone roles in operas as diverse as Billy Budd (1951), Owen Wingrave (1970) and Death in Venice (1972)—the title role of the second of these made very much Gerald Finley’s own in his magnificent interpretation in Margaret Williams’s 2001 television film of the opera. Even when Britten was writing for other singers, however, Pears’s influence remained apparent in the composer’s choice of texts for musical setting, which often reflected the tenor’s literary tastes as well as Britten’s own.The many poems set to music by Britten when he was a prolific schoolboy composer date from long before he met Pears, and the composer’s literary choices were at that early stage fairly conservative. Britten’s favourite poet during his youth was Walter de la Mare, and in 1968 the mature composer assembled a set of five of his juvenile settings of de la Mare’s poetry under the title Tit for Tat, which was given its first performance by John Shirley-Quirk and the composer at the Aldeburgh Festival in 1969. In his programme note written for the occasion, Britten commented that he had made his selection from songs composed between the ages of fourteen and seventeen; he said that he had ‘cleaned them very slightly, and here at this first performance, offer them in gratitude to the poet’s son, the wise and encouraging chairman of my new publishers, whose father’s poems have meant so much to me all through my life.’ (The reference was to Richard de la Mare, who was celebrating his seventieth birthday in that year, and who had become Chairman of Faber Music in 1966, having previously served as Chairman of the parent company Faber & Faber.) Britten’s punctilious attention to detail in his manuscripts meant that all the songs could be dated fairly precisely: ‘A Song of Enchantment’ was composed in January 1929, ‘Autumn’ (originally accompanied by string quartet) on 28 January 1931, ‘Silver’ on 13 June 1928, ‘Vigil’ on 23 December 1930, and the concluding title song in the first two weeks of 1929. In his preface to the published score, Britten noted that ‘oddly enough, the inadequacies seemed to be more striking in the later songs—new musical styles had appeared on the composer’s horizon too recently to be assimilated … At any rate, although I hold no claims whatever for the songs’ importance or originality, I do feel that the boy’s vision has a simplicity and clarity which might have given a little pleasure to the great poet, with his unique insight into a child’s mind.’Four years before Shirley-Quirk gave the premiere of Tit for Tat, the Aldeburgh Festival had also been the venue for a more substantial and challenging baritone cycle, the Songs and Proverbs of William Blake. Britten’s close association with the legendary German baritone Dietrich Fischer-Dieskau began in the early 1960s, and the baritone parts in Britten’s War Requiem (1962) and Cantata Misericordium (1963) had been written specifically for him to sing. Shortly afterwards the composer embarked on the composition of a solo song-cycle designed to showcase Fischer-Dieskau’s unique blend of intense lyricism and dramatic characterization, and Britten turned for inspiration to the vivid and sometimes visionary poetry of William Blake. Britten’s working title for the cycle—which was based on fourteen short but striking Blake texts selected by Pears—was Songs and Sentences of William Blake. The score was completed on 6 April 1965, the manuscript inscribed with the words ‘For Dieter: the past and the future’. The work, under its slightly revised title, was first performed by its dedicatee and composer at Aldeburgh’s Parish Church on 24 June 1965, and six months later the two men recorded their powerful interpretation for Decca at Kingsway Hall, London.Britten’s Blake cycle returns in places to the dark intensity of his much earlier Blake setting, ‘The Sick Rose’ (‘Elegy’) from the Serenade for tenor, horn and strings of 1943. Both the fully chromatic melody and striking image of cankerous corruption in the earlier song look directly ahead to the Songs and Proverbs—which are based on texts drawn from Blake’s Songs of Experience (1794), in which ‘The Sick Rose’ is also to be found. With the addition of one poem from the Songs of Innocence (1789) and several epigrams from the undated Proverbs of Hell, Britten created a continuous structure in which the Proverbs are set to recurrent but constantly reworked ritornello material, a structural plan familiar from other Britten works of the late 1950s and early 1960s (principally the orchestral song-cycle Nocturne, the opera A Midsummer Night’s Dream and the Cantata Misericordium). These stark Proverbs are clearly distinguished from the songs they punctuate by their disconcerting lack of metrical synchronization between voice and piano—a feature retained from the Church Parable Curlew River, composed in the previous year—and they also make limited use of twelve-note techniques.As so often in Britten’s later music, the tension between luminous diatonicism and elusive chromaticism is exploited throughout the cycle as a potent symbol for the conflict between innocence and experience at the heart of Blake’s poetry. The settings of ‘London’ and ‘Every Night and every Morn’ that frame the cycle are closely related in their ambiguous and subtly disturbing chromaticism, while greater tonal simplicity is reserved for natural scenes: the bright glow of ‘The Tyger’ and the lament for ‘The Fly’. Moments of tremendous rhetorical power are strategically located in ‘A Poison Tree’ and ‘Ah, Sun-flower’. ‘A Poison Tree’ features a highly original use of simple major and minor triads within a context of chromatic saturation. The young Britten had previously set this same Blake text to music on 2 March 1935; the earlier song remained unperformed until 1986, and is also included in the present recording. As in the opera The Turn of the Screw (1954), the intense chromaticism of the mature treatment of this gripping text serves as a graphic symbol of cankerous evil, and forms the utterly chilling core of the cycle.The last of Britten’s many published sets of folksong arrangements was prepared in the summer of 1976, shortly before his death, and featured harp rather than piano accompaniment since the composer had for some time been too ill to accompany Pears in public. The harpist Osian Ellis had accordingly become one of Pears’s regular accompanists, and the 1976 folksongs were designed to serve (as had Britten’s earlier folksong settings with piano) as popular encore items for the duo. ‘She’s like the swallow’ and ‘Bird Scarer’s Song’ were first performed in this capacity at the Aldeburgh Festival on 17 June 1976, and ‘Lemady’ was first performed at the University of Chicago on 10 November 1977. ‘David of the White Rock’ (‘Dafydd y Garreg Wen’) was a tribute to Ellis’s Welsh ancestry. The Eight Folksong Arrangements of which these songs formed part were published posthumously in two distinct editions in 1980, the original with harp accompaniment and an alternative version with piano accompaniment prepared by the composer’s music assistant Colin Matthews.The other songs on the present disc also received exposure and publication only after the composer’s death in December 1976. Several date from the early 1940s when Britten and Pears were beginning to make their names in the USA as a recital duo: these include the setting of ‘Greensleeves’ and ‘The Crocodile’, the latter performed on 14 December 1941 at a concert given under the Auspices of the American Women’s Hospitals Reserve Corps at Southold High School in upstate New York, as part of a programme that also included Charles Dibdin’s ‘Tom Bowling’ (1789)—a song of which Britten later prepared his own realization, launched at the Aldeburgh Festival in 1959 and recorded by Pears in the same year. ‘I wonder as I wander’ was frequently performed alongside Britten’s folksong arrangements in his recitals with Pears following their return to the UK in 1942, but they never recorded or published it since they subsequently discovered that the words and melody were not in the public domain: the song had been published by John Jacob Niles in 1934, and in direct consequence Britten’s version did not receive its first recording until 1995, thanks to a belated special arrangement between Niles’s publishers and the Britten Estate. The triptych ‘Evening’, ‘Morning’ and ‘Night’ (first published in 1988) originally formed part of the incidental music Britten composed in 1945 for the Masque and Anti-Masque of This Way to the Tomb, a play by Ronald Duncan, who in the following year went on to provide the libretto for Britten’s opera The Rape of Lucretia.Two other songs date from the 1950s, although the date of the second remains uncertain. In 1952, Britten prepared a comic duet arrangement of the Appalachian folksong ‘The Deaf Woman’s Courtship’ for Kathleen Ferrier to sing as part of a national tour with Pears and Britten conceived with the aim of raising funds for the English Opera Group. According to Britten’s memoir of Ferrier, she sang her part ‘in a feeble, cracked voice, the perfect reply to Peter’s magisterial roar. A masterpiece of humour, which had the audience rocking, but never broke the style of the rest of the concert.’ After Ferrier’s untimely death, the contralto part was taken over by Norma Procter, though the arrangement was to remain unpublished until 2001. Britten’s setting of Goethe’s ‘Um Mitternacht’ (published in 1994) was probably composed in 1959, shortly after the composer’s strong interest in German poetry had borne fruit in his tenor song-cycle Sechs Hölderlin-Fragmente. At this time, Pears was enjoying an enviable reputation as one of the leading exponents of Lieder in the world, repeatedly earning ecstatic reviews in the German press that inspired the BBC to capitalize on this success by carefully promoting his and Britten’s work in Germany.

• Wykonawca Finley Gerald , Drake Julius
• Data premiery 2010-05-01
• Nośnik CD

Tracklista:1. Away2. It's Easy to Feel Rotten3. Dark Matter4. Don't Listen to Me5. Misiziibi6. Far from Me7. Scared to Be8. Dreamer9. Shore Slipper10. Safe World11. Bloom

• Wykonawca Household
• Data premiery 2018-06-01
• Nośnik CD / Album

Koncert rejestrujący trasę Aerosmith po Japonii z 2011 roku. Tournee odbyło się niedługo po tym, jak kraj ucierpiał w wyniku trzęsienia ziemi oraz tsunami. Po katastrofie naturalnej doszło do serii wypadków jądrowych w elektrowni atomowej Fukushima Nr 1. Wszyscy przestrzegali zespół, że wyprawa do Japonii w tym czasie nie jest najlepszym pomysłem. Aerosmith stwierdzili jednak, że nie mogą być bierni i ruszyli do Kraju Kwitnącej Wiśni, by nieść pomoc, między innymi za sprawą muzyki. Tracklista: 1. Welcome Back To Japan (Live From Japan / 2011) 2. Draw The Line (Live At The Tokyo Dome Japan / 2011) 3. Love In An Elevator (Live At The Kanazawa Ishikawa Sports Center Japan / 2011) 4. Livin' On The Edge (Live At The Tokyo Dome Japan / 2011) 5. Hangman Jury (Live At The Hiroshima Green Garden Japan / 2011) 6. No More No More (Live At The Hiroshima Green Garden Japan / 2011) 7. Mama Kin (Live At The Hiroshima Green Garden Japan / 2011) 8. Monkey On My Back (Live At The Tokyo Dome Japan / 2011) 9. Toys In The Attic (Live At The Tokyo Dome Japan / 2011) 10. Listen To The Thunder (Live At The Kanazawa Ishikawa Sports Center Japan / 2011) 11. Sweet Emotion (Live At The Tokyo Dome Japan / 2011) 12. Boogie Man (Live At The Marine Messe Fukoka Japan / 2011) 13. Rats In The Cellar (Live At The Osaka Dome Japan / 2011) 14. Movin' Out (Live At The Osaka Dome Japan / 2011) 15. Last Child (Live At The Aichi Perfectur Gym Japan / 2011) 16. S.O.S. (Too Bad) (Live At The Saporro Dome Japan / 2011) 17. Walk This Way (Live At The Tokyo Dome Japan / 2011) 18. Train Kept A Rollin (Live At The Tokyo Dome Japan / 2011) 19. Menu / Aerosmith / Rock For The Rising Sun (Live From Japan / 2011) 20. Lick And A Promise (Live At The Hiroshima Green Garden Arena Japan / 2011) 21. One Way Street (Live At The Marine Messe Fukoka Japan / 2011)

• Wykonawca Aerosmith
• Data premiery 2018-06-08
• Nośnik DVD