This disc is the first 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 those 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 this 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, Op 48). The folksongs of 1894 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 evening 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.Graham Johnson © 2010

• Wykonawca Kirchschlager Angelika , Johnson Graham
• Data premiery 2010-01-01
• Nośnik CD

  This recording of the Saint John Passion by the Bach Choir of Bethlehem – America’s oldest Bach society -- is an acknowledgement of an important part of its history. In 1888, fresh from studying with Reinberger in Munich, J. Fred. Wolle conducted the Bethlehem Choral Union in the first complete American performance of this Passion in Bethlehem’s Moravian Church. Ten years later, the Choral Union morphed into the Bach Choir that came into being to perform the B Minor Mass in 1900. Although there were a few gaps in the early years, the annual Bethlehem Bach Festival continues to bring the music of Bach to thousands of people from across the United States and beyond. Bach’s Saint John Passion is one of the masterworks of the choral repertory, but it took time for it to be acknowledged as the masterpiece it truly is. It was re-discovered after Mendelssohn’s performance of the Saint Matthew Passion in 1829 had stunned the music world, awakening it to the superlative quality of Bach’s vocal music, and, at the same time, creating an upsurge in the performance of choral music in general, which continues to this day.    The interest generated by the Saint Matthew Passion threw the spotlight on the other Passion that Bach composed, the Saint John Passion. The comparison with the Saint Matthew Passion often meant that the Saint John Passion was thought to have been a more simple work, in that it called for less complexity in terms of the vocal and instrumental resources. But the differences between the two Passions are not because one is superior to the other but because they are settings of two different narratives, each one written from a different perspective. The Passion narrative in Saint Matthew’s Gospel is interpretative and deals with the cosmic implications of the tragedy. The Passion narrative in Saint John’s Gospel is more dramatic and displays the unfolding details of the suffering of Jesus – and their effect on those caught up in it – in personal terms. Thus Bach’s setting of the Saint Matthew Passion is somewhat detached, distant and reflective, like looking down on an event from high above, whereas his Saint John Passion is dramatic, immediate and compelling, like being on the edge of an apron stage for the performance of a Shakespeare play – so close that you are virtually part of the action. Bach’s Saint Matthew Passion is more measured, with places of rest, where the action stops and the significance of what has just taken place is interpreted. In contrast, the Saint John Passion is almost breathless in its progress through the sequential events of the Passion, and the chorales and arias heighten this intensity. The Saint Matthew portrays the Passion something like a tableau to be observed: the Saint John, as a sequence of events to be experienced.   Today Bach’s Passions are heard very differently from how they were first heard in Leipzig. Contrary to what one might think, they are liturgical music. The Saint John Passion was not written as an independent oratorio, though that is how we usually hear it – in the same way we hear Handel’s Messiah, Haydn’s Creation, Mendelssohn’s Elijah, or Britten’s War Requiem. But Bach wrote it for a community at worship, not an audience at leisure. It was composed for a liturgical service, vespers on Good Friday. It was designed to be heard in the context of prayer, preaching and congregational song. The two halves were not meant to incorporate an intermission but an hour-long sermon on the Passion of Jesus.    When we hear this work, we hear it out of context. We do not hear it as part of the Holy Week music. We do not hear it as liturgical music, performed at vespers on Good Friday. We hear it in an entirely different context – modern, non-ecclesiastical, and in a concert hall setting (even though it may take place in a church), or disembodied through speakers or ear-buds – where the music comes to us detached from its original context and is heard in isolation and judged on its own terms and for its own sake.    We can be historically informed in our performance, by using period instruments. We can learn the appropriate performance practices associated with this music. But what we cannot do is hear this music with 18th-century ears. We have 21st-century ears that cannot pretend to have unheard the sounds of Schoenberg, Stravinsky and Stockhausen. We have 21st-century minds that cannot fabricate the limitations of an 18th-century world-view. Therefore we have to create our own context in which to hear this work. In philosophical terms, we have to interpret what we hear so that it makes sense in our modern world, and each one has to create our own philosophical context.   Some will hear this music – as indeed it is – as a statement of Christian faith, still powerful, even though it is heard outside of its original liturgical and theological contexts. Others, who do not share this belief, will ignore its text and subject matter and receive it as marvelous music. But even though it is magnificent music, it is disturbing music. It is, after all, the musical exposition of the trial and execution of one who is innocent, while everyone else in the story is less than perfect. But it is not an exercise in despair. This music proves beyond all doubt that, while human nature might be seriously flawed, it is nevertheless capable of creating works of art that give us hope to live by. Just listen to that closing chorale, almost entirely in the major mode, whereas most of the Passion that precedes it has been in the minor. So at the end, hope conquers despair, death is followed by resurrection.   Robin A. Leaver  

• Wykonawca Doyle Julia , Taylor Daniel , Butterfield Benjamin , Daniels Charles , Sharp William , Nomura Christopheren , Newman David
• Data premiery 2012-03-01
• Nośnik CD

This two-disc set compiles what England's Tallis Scholars call a "mini-project," a group of several related recordings made at different times (the buyer does not learn exactly when) for the Gimell label. The compilation appeared in 2005. Even with the strong similarities among the three major works involved, the release as a whole makes a lot of sense; you might not want to sit and listen to three substantial requiem masses in a row (plus some motets of a similarly dark hue), but all of them are gorgeous, and all have a great deal to offer the listener who enjoys a cappella sacred polyphony of the late Renaissance. The opening work, and the first recorded in this series by this marvelous mixed-gender adult choir, is the six-part Requiem of Tomás Luís de Victoria, composed in 1603 and one of the undisputed masterpieces of the late Renaissance.

• Wykonawca Various Artists
• Data premiery 2001-01-01
• Nośnik CD

Tracklista:1. The Livin' End2. Good for Nothin'3. Charley Bop4. All I Do Is Dream of You5. Bluebell6. Paper Doll7. The Golden Rule8. Sunday9. Comin' Home10. I Don't Wanna Know11. Too Young to Know12. Sing Boy Sing13. Too Young14. Everybody But Me15. Take This Love16. Till You Return17. When I Kiss You Goodnight18. When You See Her

• Wykonawca Walker Scott
• Data premiery 2018-03-16
• Nośnik Płyta Analogowa

Tracklista: CD 1 1. Cry Me a River 2. I Should Care 3. I'm in the Mood for Love 4. I'm Glad There Is You 5. Can't Help Lovin' Dat Man 6. I Love You 7. Say It Isn't So 8. It Never Entered My Mind 9. Easy Street 10. 'S Wonderful 11. No Moon at All 12. Laura 13. Gone With the Wind 14. February Brings the Rain 15. I'll Remember April 16. Memphis in June 17. September in the Rain 18. Lonely Girl 19. It's the Talk of the Town 20. What'll I Do? 21. Where Or When 22. The Meaning of the Blues 23. Blues in the Night 24. If I Could Be With You One Hour Tonight 25. I Wanna Be Loved 26. Lover Man 27. Body and Soul 28. Somebody Loves Me 29. Daddy 30. Midnight Sun 31. For You 32. Blue Moon CD 2 1. What Is This Thing Called Love? 2. How Long Has This Been Going On? 3. Little White Lies 4. I Guess I'll Have to Change My Plan 5. In the Middle of a Kiss 6. Just the Way I Am 7. Something I Dreamed Last Night 8. That Old Feeling 9. Cuddle Up a Little Closer 10. Bill Bailey, Won't You Please Come Home? 11. It Could Happen to You 12. When I Fall in Love 13. One for My Baby and One More for the Road 14. The More I See You 15. You'd Be So Nice to Come Home To 16. The Thrill Is Gone 17. Sentimental Journey 18. You Stepped Out of a Dream 19. 'Round Midnight 20. Black Coffee 21. In the Wee Small Hours of the Morning 22. Don't Smoke in Bed 23. My Heart Belongs to Daddy 24. Diamonds Are a Girl's Best Friend 25. Love for Sale 26. Sophisticated Lady 27. Bewitched, Bothered and Bewildered 28. I Loves You, Porgy 29. Come On-a My House 30. Broken-hearted Melody

• Wykonawca Julie London
• Data premiery 2017-02-03
• Nośnik CD / Album

Tracklista:1. This is the truth sent from above 04:412. A Christmas Round 01:263. Today the Virgin 02:364. Es ist ein Ros entsprungen : I Chorale 01:135. Es ist ein Ros entsprungen : II Das Röslein 01:336. Es ist ein Ros entsprungen : III Meine Seele erhebt Gott 01:467. Es ist ein Ros entsprungen : IV Das Blümelein so kleine 01:268. Es ist ein Ros entsprungen : V Die Hirten zu der Stunden 01:029. Es ist ein Ros entsprungen : VI Lob, Ehr sei Gott, dem Vater 01:5010. Es ist ein Ros entsprungen : VII So singen Wir all Amen 01:1711. Noel Nouvelet 02:5312. A Lullaby & Away in a Manger 03:2813. The First Nowell 03:1814. The Three Kings 03:1115. Die Stimme des Kindes 05:2816. Suo Gan 02:4617. Spanish Carol 01:4618. Coventry Carol 03:5219. Beautiful Star of Bethlehem 03:1020. Huron Carol 04:0421. Maria Wanders through the Thorn & What Child is This? 07:2322. Mary and the Baby & Jerusalem in the Morning 04:4223. Stille Nacht 04:16

• Wykonawca Upshaw Dawn , Jennings Joseph
• Data premiery 2001-11-08
• Nośnik CD

Pierwszy album zmarłej w sierpniu 2018 roku Królowej Soulu z piosenkami bożonarodzeniowymi i kolędami. Płyta "This Christmas Aretha", wyprodukowana przez samą Franklin i Tenę Clark, miała premierę w 2008 roku. Teraz po raz pierwszy ukazuje się na nośniku analogowym.  Z konieczności pominięto na nim znane z edycji kompaktowej piosenki "Twas The Night Before Christmas" oraz "One Night With The King". Za to jest pełne wykonanie klasycznej kolędy "Silent Night".                                        Tracklista: Side A 1. Angels We Have Heard On High 2. This Christmas 3. My Grown-Up Christmas List 4. The Lord Will Make A Way Side B 1. Ave Maria 2. Christmas Ain’t Christmas (Without The One You Love) 3. 14 Angels 4. Hark! The Herald Angels Sing 5. Silent Night* *This is the original, full length version of Silent Night.                                                                                        

• Wykonawca Franklin Aretha
• Data premiery 2018-11-16
• Nośnik Płyta Analogowa

Tracklista: 1. Buddy2. Henfight3. No Consequence4. G. B. 5. Layman's Banquet6. Carousel7. Just for Tomorrow8. Angel9. Daylight Under My Wing10. Right This Time11. Bonafide

• Wykonawca Itasca
• Data premiery 2016-09-30
• Nośnik Vinyl / 12" Album

Tracklista:1. Blinded By the Light2. Singing the Dolphin Through3. Waiter, There's a Yawn in My Ear4. The Road to Babylon5. This Side of Paradise6. Starbird7. Questions8. Spirits in the Night9. Blinded By the Light1. Blinded By the Light2. Singing the Dolphin Through3. Waiter, There's a Yawn in My Ear4. The Road to Babylon5. This Side of Paradise6. Starbird7. Questions8. Spirits in the Night

• Wykonawca Manfred Mann's Earth Band , Manfred Mann's Earth Band
• Data premiery 2018-01-05
• Nośnik Vinyl / 12" Album

Tracklista: 1. No One Receiving2. Backwater3. Kurt's Rejoinder4. Energy Fools the Magician5. King's Lead Hat6. Here He Comes7. Julie With. . . 8. By This River9. Through Hollow Lands10. Spider and I

• Wykonawca Brian Eno
• Data premiery 2017-11-17
• Nośnik Vinyl / 12" Album