Tracklista:1. Pig Pickin'2. Squeaky3. I Didn't Mean That... Really4. Nu Millenium5. Tolerance6. Quiet Lady7. Jury Duty8. Believe

• Wykonawca The Stephen Anderson Trio
• Data premiery 2015-01-12
• Nośnik CD

  By the early 1780s Haydn had been in the employ of Prince Nikolaus Esterházy for some twenty years. Yet, although his duties kept him at court for much of the year, his music and his reputation had already reached right across Europe, as far as Spain and England. Since there were no copyright laws to speak of in those days, dissemination of music was often through the work of publishers who had no compunction in re-engraving pirated versions of orchestral parts (the usual form of publication) if they could lay their hands on manuscript versions by disreputable copyists. Haydn, though obviously averse to publications of his music that gave him no financial reward, was astute enough a businessman often to have his works brought out by more than one publisher. Such was the case with Symphonies 76, 77 and 78, issued in the early 1780s by no fewer than three companies: Torricella in Vienna, Boyer in Paris and Forster in London. (Mozart tried a similar ploy by selling a manuscript to one publisher and then writing the music out again from memory to sell to another.) These three symphonies, not only the first since numbers 6, 7 and 8 to be written as a set (a publishing rather than a performing practice) were also the first Haydn wrote expressly for performance outside the confines of Eszterháza. They were intended for a concert tour to London, a trip that Haydn never made (he had to wait until the prince’s death in 1790 for the impresario Johann Peter Salomon finally to lure him to London). In 1781 (the year he began his association with the publisher William Forster) Haydn appears to have been invited to introduce in person some of his operas and symphonies to the London musical public. His Symphony No 53 had been performed with great success at one of the Bach-Abel concerts (run by the ‘London Bach’, Johann Christian and Karl Friedrich Abel, both of whom had taught Mozart on his visit to London in 1764) and The Morning Herald reported in November 1781 that Haydn ‘the Shakespeare of musical composition is hourly expected.’† He had still not arrived by February 1783 when the Herald again bemoaned that ‘we have got neither him nor his music—however the music is certainly to come—the musician, most probably, will remain in Vienna’. The English music historian Dr Charles Burney also wrote in a letter at about the same time, I have stimulated a wish to get Haydn over as opera composer—but mum mum—yet—a correspondence is opened, and there is a great likelihood of it, if these cabals, and litigations ruin not the opera entirely … Two years later, when the composer was still anxiously awaited, it was even lightheartedly mooted that he might be kidnapped, as the following, from another journal, the Gazetteer and New Daily Advertiser, suggests: This wonderful man, who is the Shakespeare of music, and the triumph ot the age in which we live, is doomed to reside in the court of a miserable German Prince, who is at once incapable of rewarding him, and unworthy of the honour … would it not be an achievement equal to a pilgrimage, for some aspiring youths to rescue him from his fortune and transplant him to Great Britain, the country for which his music seems to be made? In his letter offering the three symphonies to Boyer in Paris, Haydn describes them as ‘beautiful, elegant and by no means over-lengthy … they are all very easy, and without too much concertante’. They do indeed stand out from the surrounding Eszterháza works, lacking some of the idiosyncracies that, although suitable for his own performances at the court, might have deterred foreign performers. That is not to say, however, that they lack anything in originality or quality. Symphony No 76, like the other two, has the standard four movements and, unlike many of his other symphonies, no slow introduction to the first. Here we are launched straight into the first subject, an alternation of vigorously arpeggiated chords and a restrained, downward-moving phrase. There is no second subject as such, unless we include the brief pianissimo phrase (in the tonic key) that follows the second appearance of the falling idea. The Adagio begins with the strings alone, making the entrance of the wind on a pianissimo chord all the more effective; they return at the climax of the movement, a fortissimo tour de force of demisemiquavers and staccato semiquavers. The Minuet is followed by a lighthearted Rondo, featuring some brief woodwind solos before the final coda. The most notable thing about Symphony No 77 is its finale, one of the first examples of a sonata-rondo form, literally a combination of sonata form with the rondo in which the C section of the A–B–A–C–A comprises a development of earlier material rather than a new theme. The preceding movements are no less distinctive: an opening Vivace with, this time, a true second subject; a leisurely, often restrained Andante sostenuto with the strings muted; and a Minuet of a vigour that looks forward to the true scherzo. The first movement of Symphony No 78 has an urgency in keeping with its key, C minor. The second subject turns to the relative major, E flat, and it this key rather than the tonic that ultimately dominates the exposition. The development features some fine contrapuntal writing where fragments of both subjects are tossed between the various instruments. The Adagio returns to E flat major. Unlike the slow movements of the other two symphonies, the wind instruments are integrated lnto the texture from the start, while the stateliness of the music itself looks forward to the late ‘London’ symphonies. The C major Minuet is followed by a Presto rondo whose thinly scored B section turns to C major. When the same theme reappears later, so does the major mode, which remains to the end of the symphony. Matthew Rye © 1991  

• Wykonawca Hanover Band
• Data premiery 2006-03-07
• Nośnik CD

Tracklista:1. That’s How I Got To Memphis2. Six White Horses3. Fallin’ Rain4. Let The World Go By5. If I Need You6. Woman (Sensuous Woman)7. Dreaming My Dreams8. To Love Somebody9. Homecoming10. No Regrets

• Wykonawca Blau Karl
• Data premiery 2016-05-13
• Nośnik Płyta Analogowa

The long-awaited and much anticipated recording by Tasmin Little of Elgar’s Violin Concerto will be released this November, 100 years after the work’s first performance. In concert Tasmin Little is closely associated with this concerto, having celebrated the 150th anniversary of the birth of Sir Edward Elgar with performances of it on a major tour to Southeast Asia and Australia in 2007; she has also performed the concerto extensively in London: at the BBC Proms in the Royal Albert Hall, with the BBC Symphony Orchestra at the Barbican, and with the Philharmonia Orchestra in the Royal Festival Hall. What makes this recording especially interesting is that she has included the cadenza used in the work’s first recording, made in 1916 with Marie Hall. For that occasion, Elgar, amongst other things, added harps to counter the sonic limitations of the acoustic recording process. For those used to hearing the standard version, also included, the result makes for fascinating listening, and the recording will prove a valuable addition to the Elgar discography. The 1916 version of the cadenza has been tracked separately. Tasmin Little: ‘I have waited a long time to record the Elgar Concerto, a work that I have been playing for twenty years and one which is so close to my heart. In the inspirational Andrew Davis and the RSNO’s commitment, I found exactly the right partnership for this monumental work.’ The Violin Concerto is complemented by another piece for violin and orchestra, the charming Interlude from The Crown of India, as well as the rarely recorded but imposing Polonia, an inventive and colourful work incorporating much Polish melodic material. This was commissioned by the Polish conductor Emil Ml˜ynarski in 1915 and dedicated to Ignacy Jan Paderewski, the pianist-composer and, later, Prime Minister of Poland. Since coming to prominence as a finalist in the string section of the 1982 BBC Young Musician of the Year competition, Tasmin Little has enjoyed an international career, making more than twenty recordings. Highly imaginative in her approach to classical music, she received the 2008 Classic FM / Gramophone Award for Audience Innovation in London for the project ‘The Naked Violin’. Whilst she has made superb recordings of the great popular violin concertos, including those by Bruch, Brahms, and Sibelius, she has made a speciality of recording and performing less familiar repertoire, especially neglected British works. On Chandos, she has released a recording of Finzi’s Violin Concerto to tremendous critical acclaim (CHAN 9888). Sir Andrew Davis is famous for his performances of British music in general, and of the music of Elgar in particular. Last year he had great success with the premiere recording of Elgar’s The Crown of India on Chandos (CHAN 10570(2)). Chandos also has a long association with the Royal Scottish National Orchestra. Over the last thirty years the label, in partnership with the RSNO, has produced a string of award winning CDs, notable among much else for their sound quality. This new CD, recorded in five-channel surround sound, continues that tradition.

• Wykonawca Little Tasmin
• Data premiery 2010-11-01
• Nośnik SACD

Tracklista:1. The Deep2. Promises3. Sweet Tester4. Human Distortion5. Long and Narrow6. Watch That Searing Flare7. Deaf Arena8. This Place 2

• Wykonawca Cohen John
• Data premiery 2013-09-30
• Nośnik CD

Tracklista: CD 1 1. U Can't Touch This 2. Ice Ice Baby 3. Push It 4. It's Like That 5. Jump 6. Summertime 7. Can I Kick It? (Boilerhouse Mix) 8. People Everyday (Metamorphosis Mix) [7" Edit] 9. Regulate (Feat. Nate Dogg) 10. I Got 5 On It 11. Who Am I (What's My Name)? 12. Rapper's Delight 13. I Know You Got Soul 14. It's a Shame 15. What U Waitin' 4 16. The Message 17. Express Yourself (Remix) 18. Don't Believe the Hype 19. (You Gotta) Fight for Your Right (To Party) CD 2 1. Hypnotize 2. Get Ur Freak On 3. Ain't Nobody 4. I Wish 5. Feel So Good 6. You Can Do It (Feat. Mack 10 & Ms Toi) 7. Got Your Money (Feat. Kelis) 8. Livin' It Up (Feat. Case) 9. In Da Club 10. Hot in Herre 11. Who's That Girl? 12. Ridin' (Feat. Krayzie Bone) 13. Touch It 14. X Gon' Give It to Ya 15. Nothin' 16. Ugly 17. Oh Boy (Feat. LaRon James) 18. Pump It Up 19. Be Faithful (Feat. The Crooklyn Clan) 20. Baby Got Back CD 3 1. Hey Ya! 2. I Gotta Feeling 3. Dance Wiv Me (Feat. Calvin Harris and Chrome) 4. Pass Out 5. Low (Feat. T-Pain) 6. Super Bass 7. Fancy (Feat. Charli XCX) 8. Freak of the Week (Feat. Jeremih) 9. Switch 10. Like a G6 (Feat. The Cataracs & DEV) 11. Day 'N' Nite (Crooker Remix) 12. Hate It Or Love It (Feat. 50 Cent) 13. Stand Up (Feat. Shawnna) 14. Right Thurr 15. Never Leave You (Feat. Amelle Berrabah) 16. Read All About It (Feat. Emile Sandé) 17. Coming Home (Feat. Skylar Grey) 18. Superstar (Feat. Matthew Santos) 19. Purple Pills 20. Black Beatles (Feat. Gucci Mane) 21. Swimming Pools (Drank)

• Wykonawca Various Artists
• Data premiery 2018-08-24
• Nośnik CD / Box Set

Tracklista: CD 1 1. Amerind 2. I Believe 3. Cowboys 4. One Love 5. Grape and Grain 6. The Writer 7. Whale 8. Itinerant Child 9. London Talking 10. D'Orine the Cow 11. Your Horoscope 12. No Such Thing As Love 13. Two Old Dogs Without a Name 14. The Bus Driver's Prayer CD 2 1. That's Enough of That 2. Bill Haley's Last Words 3. Poor Joey 4. Quick Quick Slow 5. Fly in the Ointment 6. O' Donegal 7. Poo-Poo in the Prawn 8. Have a Word

• Wykonawca Dury Ian
• Data premiery 2015-03-02
• Nośnik CD

Tracklista:1. Uncle Bob White2. Circle Sky Moon Mix3. Thank You, Maggie4. If You Don't Look Back5. Our Passage Home6. He Ain't Got No Color, Boys7. Song of the Sea8. The Same Thing That Applies to Me That Applies to You9. One Last Farewell10. Marie

• Wykonawca Rich Mountain Tower
• Data premiery 2015-01-12
• Nośnik CD

Koncert Iron Maiden zarejestrowany 10 kwietnia 2011 r. na stadionie Estadio Nacional w Santiago (Chile)ukaże się w formatach Blu-Ray, 2 DVD oraz 2 CD Soundtrack Album w poniedziałek, 26 marca 2012 r.„EN VIVO!” to zapis emocjonującego koncertu zagranego przez Iron Maiden dla ponad 50 000 fanów na stadionie narodowym Estadio Nacional w Santiago w ramach trasy „Round The World In 66 Days”, będącej elementem większego projektu koncertowego grupy zatytułowanego „The Final Frontier World Tour”. Nagranie w pełni oddaje ducha zespołu, który podczas zapierającego dech w piersiach występu zaserwował publiczności zarówno utwory z wydanej w 2010 r. płyty „The Final Frontier”, jak i swoje nieśmiertelne klasyki. Wydanie DVD zawiera bonusową płytę, na której znajduje się 88-minutowy film dokumentalny zza kulis występu („Behind The Beast”) oraz całą gamę innych smakowitych dodatków, w tym rozszerzoną wersję promującego trasę klipu „Satellite 15...The Final Frontier”. Wszystkie dodatki zamieszczone zostały również na płycie Blu-Ray.DVD 1:1. Satellite 15 - Iron Maiden 4:362. The Final Frontier - Iron Maiden 4:103. El Dorado - Iron Maiden 5:524. 2 Minutes to Midnight - Iron Maiden 5:505. The Talisman - Iron Maiden 8:456. Coming Home - Iron Maiden 5:577. Dance of Death - Iron Maiden 9:038. The Trooper - Iron Maiden 3:599. The Wicker Man - Iron Maiden 5:0610. Blood Brothers - Iron Maiden 7:0411. When the Wild Wind Blows - Iron Maiden 10:3712. The Evil That Men Do - Iron Maiden 4:1713. Fear of the Dark - Iron Maiden 7:3014. Iron Maiden - Iron Maiden 5:0815. The Number of the Beast - Iron Maiden 4:5716. Hallowed Be Thy Name - Iron Maiden 7:2817. Running Free - Iron Maiden 7:5718. Satellite 15 - Iron Maiden 4:3619. The Final Frontier - Iron Maiden 4:1020. El Dorado - Iron Maiden 5:5221. 2 Minutes to Midnight - Iron Maiden 5:5022. The Talisman - Iron Maiden 8:4523. Coming Home - Iron Maiden 5:5724. Dance of Death - Iron Maiden 9:0325. The Trooper - Iron Maiden 3:5926. The Wicker Man - Iron Maiden 5:0627. Blood Brothers - Iron Maiden 7:0428. When the Wild Wind Blows - Iron Maiden 10:3729. The Evil That Men Do - Iron Maiden 4:1730. Fear of the Dark - Iron Maiden 7:3031. Iron Maiden - Iron Maiden 5:0832. The Number of the Beast - Iron Maiden 4:5733. Hallowed Be Thy Name - Iron Maiden 7:2834. Running Free - Iron Maiden 7:57DVD 2:1. Behind the Beast (Documentary - behind the scenes footage from the road) - Iron Maiden 1:28:002. The Final Frontier Promo (Director's Cut) - Iron Maiden 5:003. Making of the Final Frontier Promo - Iron Maiden 6:054. Satellite 15 World Tour Show Intro - Iron Maiden 4:385. Behind the Beast (Documentary - behind the scenes footage from the road) - Iron Maiden 1:28:00

• Wykonawca Iron Maiden
• Data premiery 2012-03-26
• Nośnik DVD

Druga, płyta z cyklu koncertów skrzypcowych Mozarta wykonywana przez skrzypaczkę Julię Fischer. Płyta wydana przez wytwórnię Pentatone, znaną z audiofilskiego brzmienia, nagrywającą w formacie  Super Audio CD.Opera senza paroleIt is likely that Wolfgang Amadeus Mozart planned the three violin concertos he composed between October 12 and December 20, 1775 as (part of) a cycle. This is indicated by both the proximity of the dates of these works and the systematic design of the keys – G major, D major and A major: in other words, covering three of the open strings of the violin. Furthermore, the last movement of all three concertos is a French “Rondeau”. Strangely enough, after writing his Concerto in A, Mozart appears to have lost all interest in the genre. The following year, he added a kind of violin concerto, consisting of an Andante, Minuet and Rondeau, to his Haffner Serenade K. 250, but that signalled the end of his interest in the violin. From that moment onwards, the piano was the instrument he preferred to use in expressing himself. This caused his father, Leopold, great displeasure, by the way: more than once, he admonished his son as follows: “Du weisst selbst nicht, wie gut Du Violin spielst...”.Although as a rule Mozart’s letters provide an excellent insight into his life and ideas, we have no idea what caused this sudden loss of interest in the violin. Was it just a case of the adolescent rebelling against the authoritarian father? Or did Mozart associate the violin too closely with the oppressive Salzburg court of archbishop Colloredo, who in fact dismissed Mozart summarily in the August of 1777?Perhaps the reason is a far simpler one: the young composer just fell under the spell of a new toy – the fortepiano. The letters sent home by Mozart from Augsburg in November 1777 point in the latter direction. During that tour, he enjoyed great success as a violinist. Among others, he played a violin concerto by his colleague Johann Baptist Vanhal: “Ich machte eine Sinfonie und spielte auf der Violine das Konzert B von Vanhall mit allgemeinem Applaus.” But he also placed one of his own violin concertos, the so-called Strasburg Concerto, on the music stands: “Auf die Nacht beim Souper spielte ich das Strassburger Konzert; es ging wie Öl; alles lobte den schönen reinen Ton.” But that is all Mozart had to say about his violin-playing. His other letters from Augsburg contain an impassioned account of the new pianofortes being built by Johann Andreas Stein, from which Mozart succeeded in coaxing an as yet unprecedented range of expression.Pastoral concertoAs far as Mozart was concerned, the instrumental solo concerto was closely related to the operatic aria. This is apparent from the numerous oratorical figures which turn up especially in his piano concertos, such as the recitative-like passages in the slow movements, with the first – and most beautiful – example in the famous Jeunehomme Concerto K. 271 dating from 1777. Furthermore, it is not so much Mozart’s symphonies as his piano concertos and operas which demonstrate the development of his style of writing for the orchestra. One of the most remarkable facts here is that Mozart continued to develop in the opening movements of his solo concertos the thematic structures and proportions he had previously employed in his early opere serie. He also applied the principles of rhetoric to instrumental music.His violin concertos in G and D contain many theatrical elements. Thus Mozart’s Violin Concerto in G, K. 216 – completed on September 12, 1775 – begins with an orchestral ritornello, which directly quotes the aria “Aer tranquillo”. This was taken from his serenata Il Re Pastore, which had received its première earlier that year on April 23. In this aria, the protagonist from the opera, the shepherd Aminta – unaware of his royal descent – sings of his love of rural life. It would not be too far-fetched to state that the simplicity and aristocratic air of the violin concerto is similar to that of the aria. Another remarkable fact is the greater independent role played in this concerto by the wind instruments, and especially by the oboes – which from time immemorial have been considered “pastoral” instruments. Furthermore, the short recitative played by the solo violin just before the recapitulation sounds like a “refugee” from an opera.The pastoral character of this concerto also continues into the second movement. Here, the oboes have been replaced by flutes and the violins con sordino are supported by pizzicati in the double-basses. The well-known Mozart-connoisseur Alfred Einstein justly characterised this movement as “ein Adagio, das direkt vom Himmel gefallen zu sein scheint.”The concluding Rondeau is interrupted by a section in 2/2 time which assumes the character of a French gavotte. This is followed by a waggish melody with a bagpipe-like bourdon accompaniment “a la musette”. According to some experts, this is a quote from a popular song known as the Strassburger and this was the concerto performed by Mozart in Augsburg in 1777.Searching for the Strassburg ConcertoNot only the Violin Concerto in G, but also the Violin Concert in D, K. 218 can lay a claim to the title of Strassburg Concerto. This concerto, which Mozart completed in October 1775, has a far more virtuoso and festive character. The music bears clear traces of the Italian violin tradition of Pietro Nardini, Gaetano Pugnani and Antonio Vivaldi, whose works Mozart must have known and probably also performed. The violin part is restricted to the higher registers, and even soars to the d’’’’ in the finale: the highest note ever demanded by Mozart in his violin concertos.The first movement begins with a dotted martial motif, which regularly appeared at the beginning of a concerto and was known in Mozart’s day as the “Mannheimer Orchestervorhang”. The curtain rises: the – instrumental – opera begins. The structural innovations in this concerto catch the eye. For instance, the violin starts off the development in B minor before returning to the main key, and the recapitulation begins with the second phrase of the solo violin. The slow movement is written in sonata form; however, it lacks the development. The coda was added later by the composer.Once again, it is the final movement – Rondeau: Andante grazioso – which gives rise to speculation. Mozart alternates between passages in 2/4 and 6/8 time. In the middle, he inserts a new Andante grazioso, this time in 2/2 time. Here too, he quotes from a folk melody with an accompaniment “a la musette”, which also appears in one of the symphonies of Mozart’s colleague Karl Ditters von Dittersdorf, entitled Ballo Strasburghese. In that case, perhaps the Strassburg concerto about which Mozart wrote was not the concerto in G, but this concerto in D? We will never know. Nevertheless, this is clearly a quote from a highly popular melody. After all, Mozart also used it in the second of his Two Contradances, K. 269b, which he probably wrote that year for Count Czernin. As a rule, this kind of dance was written for the festivities held during carnival season, and composers liked to base the dances on immediately recognizable melodies.The use of a motif from the Mannheim school and the French character of the last movement indicate Mozart’s sublime gift for charming his audiences. It so happened that Mozart brought his violin concerto on the lengthy journey he undertook in the autumn of 1777, which led him to Paris via Mannheim. Thus, he must have deliberately gambled on audiences appreciating his subtle allusions to their own musical traditions.SubstitutesMozart was not easily satisfied. He often spent quite some time perfecting his compositions, or adapting them to the demands and technical prowess of a certain musician. He did this in his operas as well – for instance, in Idomeneo, for which he wrote an entirely new version with extra arias for a performance in Vienna. But on occasion he would also substitute entire movements in his solo concertos. He wrote the Adagio in E, K. 261, in 1776, probably at the request of the Salzburg leader Antonio Brunetti, to replace the slow movement of the Violin Concerto in E, K. 219. Perhaps he also wrote his Rondo in B flat, K. 269, for Brunetti, as a replacement for the finale of the Violin Concerto K. 207, which was also written in that key.

• Wykonawca Fischer Julia
• Data premiery 2005-09-26
• Nośnik CD