Tracklista: 1. Representation of Chaos (The Creation) 2. The Earthquake (The Seven Last Words of our Saviour on the Cross) 3. Sinfonia (L'isola disabitata) 4. Symphony No. 64 - Largo 5. Symphony No. 6 - Minuet & Trio 6. Symphony No. 46 - Finale - Presto 7. Symphony No. 60 - Finale - Prestissimo 8. Introduction to Winter (The Seasons) 9. Symphony No. 45 - Finale - Presto, Adagio 10. Music for Musical Clocks 11. Symphony No. 90 - Finale - Allegro assai

• Wykonawca London Symphony Orchestra
• Data premiery 2018-02-01
• Nośnik SACD

George Enescu was an extraordinarily gifted and well-rounded musician: a virtuoso violinist, a world-class conductor, an outstanding pianist, cellist, and organist – even a fine baritone. He was hugely admired by many great musicians of his time, including the cellist and conductor Pablo Casals who described him as ‘the greatest musical phenomenon since Mozart’. To a certain extent, the musical genius and extreme versatility of Enescu ended up overshadowing his many great achievements as a composer. His best-known compositions – the Romanian Rhapsodies – are light potpourris of folk tunes which deflected the focus from the depth and originality of his other works, and for this reason he grew to resent them. In his composing career, Enescu wrote five symphonies, an opera, and quite a number of pieces for chamber groups, including the two piano quartets recorded here. To this day, most of these works remain rarities in the concert hall, and they are also seldom recorded. One of the paradoxes of his writing is that the extremely detailed instructions left in the scores of his chamber works produce the impression of music that it almost improvised. His two piano quartets illustrate the point well. These are late romantic works with a firm grounding in the twentieth century. Richly textured, virtuosic, and highly individual, they display traits characteristic of Mahler, Wagner, Fauré, and Ravel, while also remaining heavily indebted to the distinctive sound of Romanian folk music. Technically, both are highly challenging works, as you would expect from the teacher of such prominent musicians as Yehudi Menuhin, Arthur Grumiaux, and Ida Haendel. The members of the Schubert Ensemble know these works well. They performed a series of Enescu’s chamber works at the Wigmore Hall during 2010, including these two piano quartets. Giving more than sixty concerts a year, and having performed in over forty different countries, the Ensemble is known today as one of the world’s leading exponents of chamber music for piano and strings, consistently receiving excellent reviews for their recordings on Chandos.

• Wykonawca Schubert Ensemble
• Data premiery 2011-06-01
• Nośnik CD

Tracklista: 1. Trio for Piano, Violin and Cello in A Minor (1945/rev. 1955) 2. Quintet for Piano, 2 Violins, Viola and Cello in B Minor (1945) 3. Romance from The Snowstorm, musical illustrations after a novella by A. Pushkin, for Orchestra Album został wydany przez wytwórnię Avi Music.

• Wykonawca Beethoven Trio Bonn , Chermonov Artur , Bebeshko Vladimir
• Data premiery 2017-11-01
• Nośnik CD

Tracklista: CD 1 1. My Name Is Man (Demo 1986) 2. Stygian Passage (Demo 1986) 3. In The Name Of God (Demo 1986) 4. Dark Civilization (Demo 1986) 5. My Name Is Man (Incomplete Vocals) 6. Dark Civilization (Instrumental Version) 7. Icarus (Sea Of Tranquility) 8. King Of Kings (Sea Of Tranquility) 9. Meditation Of Life (Sea Of Tranquility) 10. Melody For Piano And Orchestra No 1 (Sea Of Tranquility) 11. Melody For Piano And Orchestra No 2 (Sea Of Tranquility) 12. Melody For Piano And Orchestra No 3 (Sea Of Tranquility) 13. Melody For Piano And Orchestra No 4 (Sea Of Tranquility) 14. Angel In Flight (Sea Of Tranquility) CD 2 1. Musical Theme 1 2. Musical Theme 2 3. Musical Theme 3 4. Musical Theme 4 5. Musical Theme 5 6. Musical Theme 6

• Wykonawca Tsamis William J.
• Data premiery 2019-03-15
• Nośnik CD

The release in 2005 of Yevgeny Sudbin’s first disc, a selection of Scarlatti sonatas, caused a sensation. A number of reviewers compared it favourably to the legendary recordings by Horowitz in the same repertoire, and on the BBC Radio 3 CD Review, the result was described as follows: ‘It's as if he's dragged Scarlatti off a dusty museum shelf and brought him out into the sunshine where both he and the music are happily basking.’ Sudbin’s following discs focussed on Russian composers from later periods – Rachmaninov, Medtner, Tchaikovsky and Scriabin – and received similar acclaim in the international music press. He now returns to the 18th century of Scarlatti, however, and to a composer who holds a similar place in his affections, namely Joseph Haydn. As Sudbin writes in his liner notes, one of the qualities in this composer which he finds particularly endearing is Haydn’s ‘delight in silliness, outrageous wit and the breaking of all conventions’. The works chosen for this recital are by no means mere light-weight ‘musical jokes’, however; for instance they include the profoundly beautiful Andante con variazioni in F minor, which some have suggested was written in response to the death of Mozart. And as Sudbin himself acknowledges, musical jokes are easier to tell than to play; to use stand-up comedy tricks during a ‘serious’ recital risks turning it ‘into a sit-down tragedy’. Any joking is therefore strictly within the musical parameters – but that being said, Sudbin does enjoy himself in Haydn, and encourages his audiences to do likewise: ‘The odd carefully timed pianissimo chuckle is definitely among the less irritating noises you get in a concert hall’. In an affectionate tribute to the composer, Sudbin ends his recital with Larking with Haydn, his own tongue-in-cheek arrangement of the Finale of the Lark Quartet

• Wykonawca Sudbin Yevgeny
• Data premiery 2010-01-01
• Nośnik SACD

Ponad sto lat temu, w 1898 roku ukazała się książka „The War Of The Worlds”, w której to brytyjski pisarz  Herbert George Wells  opisał  atak Marsjan na naszą planetę. Trzy dekady później w październiku 1938 roku amerykańska  stacja radiowa CBS nadała audycję zrealizowaną na podstawie tej książki doprowadzając do zbiorowej paniki wśród słuchaczy. W czterdziestą rocznicę tego wydarzania, w roku 1978, ukazał się album „Jeff Wayne's Musical Version Of The War Of The Worlds” zawierający muzyczną interpretację powieści. Materiał jaki znalazł się na tym albumie zawiera w sobie zarówno narracje, utwory instrumentalne i piosenki, a wszystko to połączone w jedną , spójną całość. „Highlights From Jeff Wayne's Musical Version Of The War Of The Worlds - The New Generation” to wybór dziesięciu najlepszych utworów z musicalu z piosenką „The Eve of the War” na czele.

• Wykonawca Wayne Jeff
• Data premiery 2014-12-09
• Nośnik CD

1 The Musical Box 10:302 For Absent Friends 1:473 The Return of the Giant Hogweed 8:104 Seven Stones 5:105 Harold the Barrel 3:006 Harlequin 2:567 The Fountain of Salmacis 7:54

• Wykonawca Genesis
• Data premiery 2009-03-23
• Nośnik CD

We know very little about Paschal de L'Estocart. Only a few traces of his life have come down to us. Born in Noyon, Picardie, around 1537 — according to his portrait — we know nothing of his early musical training. His name appears in Lyon in 1559, in connection with some unimportant administrative matters, and again in 1565 on the occasion of his marriage. After this, nothing is heard of him until 1581, when he enrolled at Basel University. There can be no doubt that Lestocart's sympathy for the ideas of the reformation contributed to his settling in Calvinist territory, and to having his work published in Switzerland, then a busy printing centre — particularly Geneva, with its many music presses.The rest of his life is completely lost in obscurity, aside from two dates that offer some point of reference: he appears on the 1584 list of prize winners in the Puy de Sainte-Cecile, an annual competition, and on the 1587 register of petitions presented to Henry III, asking for a lay position in the abbey of Frémont, which was rejected. Could it be that he converted back to Catholicism, or even that he never fully embraced Calvinism?This duality is clearly reflected in the collection of the Sacrae Cantiones, with its dedication to Count Palatine Johann Casimir — a well-known Calvinist during the Wars of Religion — on the one hand, and on the other its latin pieces, albeit a small part of the bundle.The musical language of L'Estocart is influenced, as with all the French composers of his generation, by that of Lassus. The whole range of compositional techniques, from imitative counterpoint to homorhythmic chordal writing, are employed to serve the goal of expression, the neatness with which the musical syntax matches that of the text, rhythmic variety and the sense of movement, and the wide use of rhetoric figures. The greatest originality lies in the boldness of the harmonic language. The points of greatest harmonic daring are a result of the voice-leading, producing clashes that cannot be missed by the attentive listener.Annie Cœurdevey

• Wykonawca Ludus Modalis , Boterf Bruno
• Data premiery 2007-01-01
• Nośnik CD

Wyjątkowe wydawnictwo Magnetic Fields, zasłużonej indiepopowej i synthpopowej formacji z Bostonu. Wyjątkowość dzieła polega na tym, że jest to płyta koncepcyjna, opowiadająca poprzez słowa i dźwięki o 50 latach życia lidera kapeli, Stephina Merritta, obdarzonego niesamowitym, basowym głosem.Wydawnictwo składa się z aż pięciu płyt, na których jest w sumie 50 utworów. Każdy opowiada o jednym roku życia Stephina. Lider Magnetic Fields śpiewa we wszystkich piosenkach, ale o wiele bardziej imponujące jest to, że podczas sesji nagraniowej zagrał na ponad 100 instrumentach! Teksty Merritt napisał o charakterze autobiograficzno-dokumentalnym. Całości dopełnia aż 100-stronicowa książeczka z obszernym wywiadem ze Stephinem, który przeprowadził Daniel Handler. W zestawie jest też karta z kodem do bezpłatnego ściągnięcia płyty w formie plików cyfrowych.Tracklista:CD 11.’66 Wonder Where I’m From 2.’67 Come Back as a Cockroach 3.’68 A Cat Called Dionysus 4.’69 Judy Garland 5.’70 They’re Killing Children Over There 6.’71 I Think I’ll Make Another World 7.’72 Eye Contact 8.’73 It Could Have Been Paradise 9.'74: No 10.’75 My Mama Ain’t CD 21.’76 Hustle 76 2.’77 Life Ain’t All Bad 3.’78 The Blizzard of ’78 4.’79 Rock’n’Roll Will Ruin Your Life 5.’80 London by Jetpack 6.’81 How to Play the Synthesizer 7.’82 Happy Beeping 8.’83 Foxx and I 9.’84 Danceteria! 10.’85 Why I Am Not a Teenager CD 31.’86 How I Failed Ethics 2.’87 At the Pyramid 3.’88 Ethan Frome 4.’89 The 1989 Musical Marching Zoo 5.’90 Dreaming in Tetris 6.’91 The Day I Finally… 7.’92 Weird Diseases 8.’93 Me and Fred and Dave and Ted 9.’94 Haven’t Got a Penny 10.’95 A Serious Mistake CD 41.’96 I’m Sad! 2.’97 Eurodisco Trio 3.’98 Lovers’ Lies 4.’99 Fathers in the Clouds 5.’00 Ghosts of the Marathon Dancers 6.’01 Have You Seen It in the Snow? 7.’02 Be True to Your Bar 8.’03 The Ex and I 9.’04 Cold-Blooded Man 10.’05 Never Again CD 51.’06 “Quotes” 2.’07 In the Snow White Cottages 3.’08 Surfin’ 4.’09 Till You Come Back to Me 5.’10 20,000 Leagues Under the Sea 6.’11 Stupid Tears 7.’12 You Can Never Go Back to New York 8.’13 Big Enough for Both of Us 9.’14 I Wish I Had Pictures 10.’15 Somebody’s Fetish

• Wykonawca The Magnetic Fields
• Data premiery 2017-03-10
• Nośnik CD

This recording is the first presentation of a recently rediscovered manuscript of twelve sonatas for recorder and basso continuo by the English composer Robert Valentine.Born into a family of musicians in Leicester between 1671 and 1674, he set up house in Rome sometime before 1701, and lived there until his death in 1747. Valentine was known in Italy by the name of »Roberto Valentini«, or »Valentino«, often with the addition of Inglese to distinguish him from the Florentine violinist and composer Giuseppe Valentini, also active in Rome during these years, and at one time a colleague in the service of the Marquis Ruspoli. His identity laboured under this homonymy, and he found it difficult to integrate himself with the competitive musical milieu in Rome at the time.Alongside his instrumental performing, Valentine taught the recorder, and possibly also the transverse flute, but he dedicated himself chiefly to instrumental composition, leaving behind a large body of work. For the recorder alone he wrote no less than sixty sonatas with basso continuo, as well as numerous sonatas for two recorders without bass, for two recorders with bass, as well as a concerto for recorder, two violins and basso continuo.Corelli clearly served as the model for the first collections, and he may have been the reason Valentine made the voyage from England: if he entertained a desire to study with the master, we don't know whether it was ever fulfilled or not. Over time, Valentine displayed more of his eclectic side, following the dominant musical trends, and approaching the galant style by adopting the more theatrical, pathetic gestures of the Neapolitan composers. Valentine's success in amateur circles is due principally to his capacity for combining writing that, while melodic, pleasing and brilliant, remains comfortably playable, even at speed, with slow movements that manage to sustain the interest of both player and listener through an abundance of pleasant and evocative melodies.The manuscript of these twelve sonatas is part of an authentic, representative collection of recorder repertoire belonging to a true amateur of the time, Paolo Antonio Parensi, merchant and Gonfalone of Lucca around 1704. It is conserved at the Biblioteca Palatina in Parma under the shelf number Sanv.D.145.

• Wykonawca Ensemble Mediolanum
• Data premiery 2007-01-01
• Nośnik CD