A NUMBER OF RECORDINGS FROM 1921-1932

• Wykonawca Cavallaro Carmen
• Data premiery 2005-12-07
• Nośnik CD

 The sound of Köthen culminates in J.S. Bach: in his music and in the environment, which favoured its creation. The very young Leopold (1694-1728) began his reign with an edict for confessional tolerance and he paid tribute to the Muses. Prince Leopold of Anhalt-Köthen was a musically educated man who probably recognized the meaning of J.S. Bach immediately. In 1717 he appointed J.S. Bach, then 32 years old, to be the Anhalt-Köthen Prince's own musical director". Previously, he had raised the number of the court's orchestra to 17 among them excellent Cammer Musici of the same orchestra that he had admired as a student of the Knights' Academy in Berlin (and which the King of Prussia had thrown out without a word!).

• Wykonawca Ensemble Sonnerie , Huggett Monica
• Data premiery 2009-01-01
• Nośnik CD

Tracklista:1. Propensity2. Unfiltered Universe3. Thoughts4. Thin-king5. Turn of Events6. Disagree to Agree7. Dance Number

• Wykonawca Abbasi Rez
• Data premiery 2017-10-06
• Nośnik CD

Tracklista:1. No Way Back2. Just Add Water3. Samba for Heather4. After Hours5. Convoy6. Yemanja7. Caprice Number 58. The Trick9. Written in the Stars10. There It Was Gone11. The People Tree12. The Hackney Two Step

• Wykonawca The Matt Wates Sextet
• Data premiery 2015-02-02
• Nośnik CD

1. COME IN NUMBER 21 2. I NEVER WANT AN EASY LIFE IF ME & HE... 3. CAN'T GET OUT OF BED 4. FEEL FLOWS 5. AUTOGRAPH 6. JESUS HAIRDO 7. UP TO OUR HIPS 8. PATROL 9. ANOTHER RIDER UP IN FLAMES 10. INSIDE-LOOKING OUT

• Wykonawca The Charlatans
• Data premiery 1994-03-14
• Nośnik CD

1. In The Midnight Hour      2. 634-5789 (Soulsville, U.S.A.)     3. Land Of 1000 Dances     4. Mustang Sally     5. Funky Broadway     6. I'm In Love     7. She's Lookin' Good     8. Hey Jude     9. Sugar Sugar     10. Engine Number 9     11. Don't Let The Green Grass Fool You     12. Don't Knock My Love - Pt. 1     13. Fire And Water     14. I'm A Midnight Mover     15. I Found Love - Pt. 1     16. Everybody Needs Somebody To Love

• Wykonawca Pickett Wilson
• Data premiery 1993-01-01
• Nośnik CD

Tracklista: 1. If I Had Wings (Part 1) 2. To The Left To The Right 3. Look What All You Got 4. Here Comes Papa 5. We Don't Understand 6. These Eyes 7. Pop Pop Pop 8. The Old Number 9. Come Back Home 10. If I Had Wings (Part 2)

• Wykonawca T-Model Ford
• Data premiery 2017-06-23
• Nośnik CD

Tracklista: CD 1 1. Panama Rag 2. Keystone Blues 3. Everybody Loves My Baby 4. Big House Blues 5. Kay Cee Rider 6. Bogalusa Strut 7. Maple Leaf Rag 8. Georgia Grind 9. Here Comes My Blackbird 10. One Sweet Letter from You 11. Isle of Capri 12. Lonesome Road 13. Sweet Georgia Brown 14. Pound of Blues 15. Georgia Swing 16. Can't We Get Together 17. The Entertainer 18. Mood Indigo 19. April Showers 20. Just a Closer Walk With Thee CD 2 1. I Love My Baby 2. I Can't Afford to Do It 3. Bugle Boy March 4. Ory's Creole Trombone 5. Georgia Cakewalk 6. Bill Bailey 7. Strange Things Happen Every Day 8. Give Me Your Telephone Number 9. On a Christmas Day 10. Bearcat Crawl 11. Yama Yama Man 12. It Looks Like a Big Time Tonight 13. Jeeps Blues 14. St. George's Rag 15. Reindeer Ragtime Two Step 16. I Can't Give You Anything But Love 17. Just a Little While to Stay Here 18. Carolina Moon 19. Do What Ory Says 20. When the Saints Go Marching In

• Wykonawca Barber Chris
• Data premiery 2013-11-18
• Nośnik CD

This disc is the second of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of the Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety. In the case of this disc it is a grouping of Mädchenlieder from various opus numbers that was apparently envisaged by Brahms, and published after his death by Simrock in order to fulfil the composer’s wishes. In this series the folksongs of 1894 are will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire occasion was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.

• Wykonawca Bode Simon , Johnson Graham
• Data premiery 2011-09-01
• Nośnik CD

Throughout a long and extremely productive career, Georg Philipp Telemann harboured a great affection for the overture-suite, consisting of a French overture followed by a number of dances and character movements. Tempering the rigid model inherited from the French tradition with his own rich powers of invention and playfulness, he remained true to the form long after it had gone out of fashion. One variant of which he was particularly fond was the ouverture pittoresque, which offered a welcome opportunity to revel in tone-painting and characterization: ‘Nobody paints with stronger brushstrokes than him’ was the verdict by one of Telemann’s contemporaries. Instances here are the so-called ‘Völker-Ouvertüre’ where we are introduced to different nationalities (Turks, Swiss and Muscovites), and the Ouverture, jointes d'une Suite tragi-comique, in which Telemann depicts various ailments (hypochondria and gout being two of them) and their possible remedies. Another early influence was folk music, and specifically the Polish folk music of the Cracow region, where Telemann spent time in his youth, as Hofkapellmeister to Count Erdmann von Promnitz. In an early example of cross over, he experimented with clothing this music of a ‘true barbaric beauty’ in ‘Italian dress’. One result was the two ‘Polish’ concertos for strings, in which Telemann’s passion for Polish music can be felt from the very first note. Dignified, festive polonoises with chromatically tinged melodic twists begin both concertos, while the fast movements include many examples of Polish colours, such as drone-like effects reminiscent of the dudy, or Polish bagpipes. With a number of highly praised recordings, the Polish band Arte dei Suonatori is firmly established as a leading ensemble performing on authentic instruments. Among the group’s recordings for BIS is a previous collaboration with Martin Gester: the set of Handel's Concerti grossi, Op.6, which was selected as ‘Orchestral Disc of the Month’ in BBC Music Magazine, and described as ‘a model of authentic Handel performance’ in the German early music magazine Toccata.

• Wykonawca Arte Dei Suonatori
• Data premiery 2013-01-01
• Nośnik SACD