Album „Sound of Marianna Wróblewska” został wznowiony przez Polskie Nagrania w ekskluzywnej reedycji kultowej serii Polish Jazz, znanej fanom polskiej muzyki jazzowej od lat 60.
Autorska płyta 22-letniego saksofonisty Kuby Więcka – odkrycia polskiego jazzu. Album jest przyjazną odmianą jazzu awangardowego. Saksofonista daje się poznać jako artysta niepokorny, imponujący własną, nad wyraz jasno wykładaną, dojrzałą wizją swojej muzyki - zaskakująco pięknej. Swoje inspiracje czerpie z wielu gatunków muzyki, poczynając od klasyki, przez folklor europejski czy jazz, a kończąc na muzyce elektronicznej, alternatywnej czy hip-hopie. Wraz z debiutującym artystą trio tworzą Michał Barański i Łukasz Żyta.Album jest pierwszym debiutem w serii Polish Jazz od 28 lat. Młody, ogarnięty pasją, emanujący siłą swojej osobowości a jednocześnie ujmująco skromny Kuba Więcek, doskonale wpisuje się w kultową serię Polish Jazz, otwierając jej nowy etap.
The Ensemble Caprice members are putting on their gypsy attire! Following a wild journey along with Vivaldi on the bohemian road, they do it again with Telemann! High-octane performances of the composer's oeuvre are intertwined with sparkling Matthias Maute's arrangements of gipsy pieces. All the colors and opulence of a unique cultural heritage offered to you.From Telemann's own writings, after listening to gypsy musicians and their music:One can hardly believe what wonderful imaginative ideas these pipers and fiddlers have as they improvise. In only a week, a composer could be inspired for an entire lifetime. I have written several major concertos in this style.Georg Philipp Telemann (1681-1767) was only 24 years old when he was appointed to his first position at court. Mostly self-taught, he was familiar with all orchestral instruments and could play the harpsichord, recorder, transverse flute, chalumeau (the baroque predecessor of the clarinet), brass instruments like the trombone, and even the calcedon (a 5-stringed lute) in addition to the mandatory string instruments. His versatility evidently outshone the talent of even the most multi-instrumentally trained baroque musicians.By 1705, the young Telemann's reputation as an innovative composer and flexible instrumentalist had advanced his career so quickly that he was appointed Kapellmeister to Reichsgraf Erdmann II at his castle in Sorau (in today's Poland). However, despite the auspicious beginning to his career, even a privileged courtly musician like Telemann was at the mercy of the political troubles of his times. In February 1706, the Great Northern War waged by Augustus II the Strong caused the entire court to flee from Sorau and Telemann was unable to return for four months. However, the industrious Telemann had visited Kracow and Pless during this time and familiarized himself with Polish and Moravian music, which he described as having "barbaric beauty”.As mentioned in his autobiographies, Telemann's encounters with Eastern European gypsy music influenced his own compositions. The young composer must have been enthralled by the wonderful inventiveness of this music, as typified in this recording with the last movements of the Caprice Symphony and the Concerto in e minor for recorder and flute.In addition to melodic construction in the pastoral genre that was considered aesthetically pleasing at the time, the fashionable Polonaise also contributed to making Eastern European folk and gypsy music court-worthy. The door to this eastern-oriented cultural expansion had only recently been opened as a consequence of the appointment of Augustus II, Prince Elector of Saxony, to the Polish Kingship in 1697 and Telemann did not lose the opportunity of embracing it.At this point, Telemann's infallible sense of sound colour became invaluable. The unusual instrumentation of the Caprice Symphony, with its constellation of solo instruments is unique in the history of western music and would have given this witty composer great pleasure. The piccolo transverse flute, which is strengthened by a regular flute doubling it an octave lower, is combined with an oboe and a chalumeau, as well as two solo double basses, all accompanied by a string ensemble.The gypsy melodies and dances presented here are from the spectacular Uhrovska Collection of 1730, a volume containing 350 melodies that were in all probability assembled by a scholar wishing to produce a comprehensive compendium of the gypsy people's music. This pancultural treasure of Eastern European music reveals Hungarian, Polish, Slovakian and geographically-indefinable European influences. True to the oral tradition of gypsy music, only the melodies themselves are documented, since it was assumed that any accompaniment would be improvised. In keeping with this practice, we have made our own arrangements, leaving room for improvisation while fully exploiting their harmonic and rhythmic richness. The untamed virtuosic strength and expressive melancholy of this music has lingered with us for some time, and yet we continue to discover fresh nuances in this lavishly developed gypsy art.In this recording, we are musically re-enacting the encounters of Telemann with the gypsies of Eastern Europe. The direct dialogue between individual movements from the Trio Sonata in d minor and the Paris Quartet with melodies from the Uhrovska Collection depicts a conversation in which commonalities as well as differences are made unabashedly explicit.Telemann's compositional methods in his "Polish” works follow his own self-imposed rules, as is illustrated by the last movement of the famous Concerto in E minor for recorder and flute, in which some of the Polish tutti melodies are interrupted by quintessentially baroque and virtuosic solo passages. The contrast and dazzlingly fast shifts from one culture to another result in a rich play of colour that captures our attention in the same way that it intrigued listeners during the eighteenth century. The "barbaric beauty” that Telemann discovered in Polish and Moravian music is also imbued with eternal youth.© Matthias MauteTranslation: Ragnar Müller-WilleEdited by: Amanda Pond
Tracklista:1. Rue Gregoire Du Tour2. Waltz No. 63. Polish Reggae4. A Quiet Day In Spring5. Waltz No. 126. Stuff's Stuff7. Miss Julie
Płyta zespołu Michała Urbaniaka "Constellation in Concert" została zarejestrowana podczas koncertu w Filharmonii Narodowej w Warszawie w maju 1973 roku i wydana tego samego roku z numerem 36 w serii Polish Jazz. To drugi i ostatni album Urbaniaka w tej serii. "Constellation In Concert". Jest to płyta wyjątkowa, zarówno od strony zaprezentowanych kompozycji, składu instrumentalistów (m.in. dwóch wybitnych polskich keyboardzistów: Adama Makowicza i Wojciecha Karolaka) oraz brzmienia. "Constellation: In Concert" to jedna z tych płyt, o których powiedzieć można, iż wyprzedzały swój czas. Stąd bierze się jej dzisiejsza aktualność. To, co najbardziej wyróżnia Constellation, to duet jego głównych solistów – śpiewu i skrzypiec. Dudziak i Urbaniak - trudno o lepiej dobraną parę, skrzypce Michała i głos Uli pod względem skali i ruchliwości nie mają sobie równych poza sobą nawzajem. Świetnie brzmią razem unisono, a jeszcze lepiej w dialogach. Ta płyta to kulminacja niezwykle kreatywnego okresu w historii tego zespołu i jego członków. Album został wydany przez Polskie Nagrania w ekskluzywnej reedycji kultowej serii Polish Jazz, znanej fanom polskiej muzyki jazzowej od lat 60. Płyta dostępna jest na CD i LP.
Kolejna płyta z serii Polish Radio Jazz Archives, a zarazem pierwsza część kroniki Jazz Jamboree’63.
Dwudziesta siódma pozycja radiowej serii Polish Radio Jazz Archives to płyta CD pt. „Jazz Jamboree ’65 vol.2”. Nagrania z 8 Festiwalu Jazz Jamboree’65 w Warszawie.
Polish pianist Ewa Kupiec studied in Warsaw at the Chopin Academy and in London at the Royal Academy of Music. With an extensive and acclaimed discography, she regularly performs at the world’s leading festivals and with major orchestras including the Royal Liverpool Philharmonic Orchestra, the Leipzig Gewandhaus Orchestra and the Warsaw Philharmonic. She feels a close connection with the music of Chopin and is a champion of Polish composers including Władysław Szpilman’s whose music she recorded for Sony’s release of the movie The Pianist. Her prizewinning recordings include works by Lutoslawski, Szymanowsky and Paderewski. She is widely recognised as one of Europe’s most dedicated interpreters of contemporary music. Chopin’s keyboard works call for the pianist to take the virtuosic demands in their stride whilst at the same time conveying the eloquence in the melodic line. In these Chopin recordings she proves the perfect exponent, her poetic cultivation perfectly suiting this repertoire. Where asked for, Kupiec has the pre-requisite (and considerable) finger power combined with infinitely nuanced phrase endings adjusting her sonority and colour of tone with deft aplomb. Ewa Kupiec’s concert highlights in the summer and fall of 2012 include appearances with the Gewandhausorchester in June, in Ireland the West Cork Chamber Music Festival and the Rheingau Festival in Germany in July, and in October concerts with the Royal Stockholm Philharmonic and in Frankfurt an engagement with Brandenburgisches Staatsorchester.
Wyjątkowa kolekcja symfonii i poematów symfonicznych Piotra Czajkowskiego w wykonaniu Rosyjskiej Orkiestry Narodowej pod dyrekcją Michaiła Pletnewa. Na siedmiu płytach zebrano cykl wszystkich symfonii rosyjskiego romantyka oraz reprezentatywny wybór poematów symfonicznych i uwertur (m.in. Uwertura „Rok 1812”, uwertura-fantazja „Romeo i Julia” oraz Symfonia „Manfred”, op. 58 napisana do Byronowskiego „Manfreda”). „O takim właśnie, pełnym dostojeństwa brzmieniu musiał marzyć Czajkowski pisząc swoje dzieła... Wspaniałe wykonanie” - napisał recenzent The Penguin Guide.CD11 - 4 Symphony no. 1 in G minor op. 13 "Winter Daydreams" 47'335 Marche slave op. 31 9:256 Festival Overture on the Danish National Anthem op. 15 12:41CD 2 67:481 - 4 Symphony no. 2 in C minor op. 17 "Little Russian" 33:045 Fate op. 77 18:356 1812 Overture op. 49 15:47CD 3 65:551 - 5 Symphony no. 3 in D major op. 29 "Polish" 46:276 Romeo and Juliet 19:15CD 4 67: 421 - 4 Symphony no. 4 in F minor op. 36 43:165 Francesca da Rimini op. 32 23:52CD 5 65:471 - 4 Symphony no. 5 in E minor op. 645 Hamlet op. 67 19:05CD 6 77:331 Voyevoda op. 78 14:102 Capriccio italien op. 45 17:033 - 6 Symphony no. 6 in B minor op. 74 "Pathétique" 45:58CD7 75:421 The Tempest op. 18 21:412 - 5 Manfred Symphony op. 58 50:01RUSSIAN NATIONAL ORCHESTRAMIKHAIL PLETNEV
Tracklista:1. Dances2. Orchesographie3. Dances from the School of Gregorio Lambranzi4. Short Airs, Grave and Light5. German and Polish Dances, (9 Untitled Dances)