Tracklista:1. Miner2. Cut With Glass3. Drop Shadow

• Wykonawca Szare
• Data premiery 2019-03-22
• Nośnik Vinyl / 12" Single

The BBC Scottish Symphony Orchestra under the baton of Martyn Brabbins give invigorating and authoritative performances of William Walton’s masterful symphonies. The musicians balance stunning control with breathtaking energy and character.Following the resounding success of Belshazzar’s Feast, Walton spent three years perfecting his dramatic first symphony. The immensely virtuosic work displays an astounding range of colours and emotional volatility, reflecting the turbulence of Walton’s private life. Despite its fraught gestation – the first performance in 1934 by the London Symphony Orchestra was missing the finale – this work met with an ecstatic critical reception and has remained popular ever since.The second symphony, premiered by the Royal Liverpool Philharmonic Orchestra in 1960, is more concise and refined. Somewhat out of kilter with the austerity of its time, this masterpiece was slow to emerge from the shadow of its predecessor. Also included is the intimate orchestral work Siesta, from 1926.

• Wykonawca Various Artists
• Data premiery 2011-05-01
• Nośnik CD

Zoltán Kodály occupied a position in Hungary much like that of Vaughan Williams in the United Kingdom: as the great national composer who, by his discovery and creative use of his folk-music heritage, and the role he must play in society as an educator and fulfiller of cultural needs, forged the standard by which twentieth-century Hungarian music should be judged. He was a protégé and colleague of Erno Dohnányi and a lifelong friend of Béla Bartók (in the early 1900s they went on prospecting expeditions together, to collect folksongs in the remotest villages of Hungary). But he was more concerned than them to bring home the reality of Hungary’s musical heritage to Hungarians, rather than to place it on the European or transatlantic stage. As he himself said: ‘One can approach what belongs to all humanity only through one’s own national characteristics’—and paradoxically Kodály’s music is known and loved all over the world; he seems to speak to every audience in a language they can understand. Most celebrated as a choral composer, he created an entire repertoire of small-scale choral pieces for teaching and concert-giving. This output is punctuated, however, by notable chamber, orchestral and choral works which testify to a powerful mastery.For Liszt or Brahms, ‘Hungarian’ music wasn’t the songs and dances of the peasantry, but the cosmopolitan music that had been developed by gypsy violinists and entertainers: the pseudo-folk verbunkos style, which amalgamated features from various traditions (nineteenth-century courtship and recruiting dances, for instance), its characteristic measure being the fiery or sentimental csárdás. Bartók and Kodály, as professional ethnomusicologists, uncovered the older, more authentic Hungarian folk music by going into the countryside with a phonograph and recording the actual melodies people sang and danced to. It was a discovery of enormous significance—the recovery of a national heritage, a national identity, just when Hungary was seeking liberty from the dying Austrian Empire.In 1906, the year they published their first joint collection of Hungarian folksongs, Kodály composed his graduation piece from the Budapest Academy of Music: the orchestral poem Summer Evening, already infused with the modal melodies, the florid arabesques and characteristic rhythms of Hungarian folk music. This lush, delicately evocative nature-impression is a symphonic poem comparable to early orchestral works of Dohnányi or the more contemplative movements of Bartók’s contemporary orchestral suites. But rather than pursuing orchestral music after Summer Evening Kodály—after a decisive encounter with the music of Debussy and appointment as professor of composition at the Budapest Royal Academy—took an entirely different path, with an astonishing succession of chamber works for string instruments which focused his creative energies for over a decade. Through them he became a mature artist. All are conceived on a heroic scale; all push the techniques of their chosen instruments to the limit. In abstract forms—quartet, sonata, duo—they show a unique and original fusion of classical formal principles with the new harmonic and melodic resources Kodály and Bartók had assimilated on their folksong-collecting expeditions.Nothing like them had been seen before in Hungarian or maybe in European music. In his concentration on this one area of the repertoire Kodály showed himself even more single-minded than Bartók, and at this stage of their respective careers it would be hard to say which was the more radical composer. Kodály seemed to achieve more powerful results the fewer instruments he dealt with. He displayed elegant formal grasp and structural sophistication in his two string quartets, but these warm-hearted works are surpassed for sheer passion and epic sweep by the violin-cello Duo (1914), whose two players are enabled, by Kodály’s brilliant technique, to sound like a veritable string orchestra. Above all towers the amazing, ardent, pugnacious Sonata for solo cello (1915), one of the greatest utterances in this most demanding of genres since J S Bach’s solo cello Suites. (Bach was, needless to say, an inspiration to Kodály throughout his life; his arrangements of various Bach keyboard pieces for string instruments are a significant pointer to his compositional concerns.)Kodály had been declared unfit for military service in World War I, and instead, while continuing his studies in Hungarian folk music and composing, worked with a volunteer group that was devoted to defending the principal monuments in Budapest. It is important to remember that the Sonata was a wartime work, which gives a tragic edge to the sense of prophetic utterance, especially in the first two movements. It was because of the war that it had to wait three years for its premiere. It is dedicated to the cellist Jeno Kerpely, of the Waldbauer-Kerpely Quartet, an ensemble that championed contemporary Hungarian chamber music and gave the first performances of Kodály’s two quartets and the first two quartets of Bartók. Kerpely premiered the Sonata in Budapest on 7 May 1918. There are three large-scale movements, and Kodály boldly extends his tonal palette by the use of scordatura—retuning the instrument’s strings to make possible a different range of harmonies and tone-colour. The C string is tuned down to B, the G string to F sharp, and while the music is notated as normal, these ‘mistunings’ mean that the sound produced often diverges from the printed notes. They also appear to help Kodály to produce passages of intense polyphony where each string seems to have its own colour, and indeed there are passages in the work where the single cello sounds like a whole orchestra, or a range of different instruments.The sonata begins with a majestic, passionate Allegro maestoso ma appassionato, full of bold, authoritative gestures and truculent exclamations. The impression of a highly emotional monologue is unmistakable. While the opening subject makes much use of massive triple- and quadruple-stopped chords, a pleading, highly emotional second theme is more melodically based and taps deep into a contrasting lyrical vein. Both themes span the entire range of the instrument, and both in their different ways are redolent of sublimated Hungarian folk music. The development climaxes in a passage of furious trills at the top of the cello’s register, while the movement ends with a melancholic coda based on the second theme.The central Adagio, marked con grand’ espressione, begins with a dark, meandering, low-lying melodic line that flowers into a highly decorated melody with the character of a desolate folksong, accompanied by occasional resonant pizzicati. These elements alternate and then make way for a much more aggressive central section, Con moto, which seems like a wild, stamping dance. When the music of the opening section returns it is floridly elaborated and much transformed, with more than a hint of gypsy-style virtuosity, the rapid figurations suggesting a cimbalom. The coda is bleak and haunting, the passion spent, the final downward glissando a distant wail of despair.But in the finale, Allegro molto vivace, we are plunged into a kind of folk-dance medley, though of the most sublimely transfigured kind. The cello becomes at one moment a kind of bagpipe, simultaneously drone and chanter, at another a zither or even a folk clarinet. Despite the virtuoso nature of the first two movements this tumultuous finale surpasses them in sheer bravura, with brilliant use of pizzicati, double stops, rapid repeated notes and tremendous arpeggio passages. The many themes, each it seems conceived from the inside of the instrument, refer to several different kinds of Hungarian folk music. An extended, eerie build-up, in spectral and eventually shrieking sul ponticello tremolandi, leads back to the movement’s opening theme and a magnificent review of most of its material even more staggering in its demands on the player’s technique. The defiant final bars span a whole five octaves, from the highest to the lowest B. Had he written nothing else apart from this magnificent Sonata, Kodály would still deserve to be accounted one of the greatest musical geniuses that Hungary has ever produced.Previous to the Solo Cello Sonata, Kodály had composed his Sonata for Cello and Piano Op 4 in 1909–10. Though this was originally a work in three movements, he was dissatisfied with the first of them and allowed the Sonata to be performed, as it has been to this day, as a two-movement diptych. In 1922, when it was to be published, he made a new attempt to compose a first movement, but again was unhappy with the result—this time because he felt his idiom had developed too far in fresh directions—and decided not to combine the new movement with the two existing ones. The Sonatina for cello and piano, published in 1969 in an edition by the cellist and musicologist Lev Ginzburg (1907–1981), is believed to be the movement he wrote in 1922.Beginning with an impressionistic piano solo before the cello’s first entrance, the work is highly lyrical, showing some clear influence from Debussy’s Cello Sonata of 1915, but its melodic invention is redolent from first bar to last of Hungarian folk inspiration. The title ‘Sonatina’ refers to its curtailed sonata-form design, without a formal development section but rather with a much-transformed reprise of the opening material forming the second part of the structure. This begins with the piano’s initial theme in the cello, and rises to a passionate climax. The invention is fluid, and sometimes capriciously improvisatory, the piano providing a remarkable range of accompanying patterns when it is not the principal focus of attention. The coda eventually arrives at a kind of melancholic serenity.As for the remaining pieces on this CD, the Romance lyrique is a very early work indeed, composed in 1898 by the teenage Kodály while he was still living in the village of Nagyszombat (now Trnava in Slovakia), where his father was stationmaster. Immature it may possibly be, and not wholly free of a hint of the salon, but it has a heart-easing main tune and a wonderful ardent lyricism in the spirit of Brahms, Dohnányi and Dvorák (whose Cello Concerto it seems to quote at the end of its central section).While Kodály kept the Romance lyrique in his drawer after he went to study in Budapest Conservatoire, the Adagio for cello and piano was one of the first chamber works he officially acknowledged. It was originally composed in 1905 for violin and piano; he made the version for cello and piano in 1910 (there is also one for viola). The work is dedicated to the violinist Imre Waldbauer of the Waldbauer-Kerpely Quartet. Here Kodály still appears in post-Brahmsian guise. The piece is in a broadly ternary form, the slow romantic outer sections framing a slightly quicker and more overtly Hungarian-style central section. The third portion, in which the main melody reappears in higher registers against a modified background, subsides to a peaceful conclusion, though not before giving vent to a passionate outcry.The nine Epigrams (Epigrammák) were composed in 1954 along with several other educational works designed to exemplify Kodály’s method of musical education. They were originally conceived as vocalises, for a wordless voice and piano accompaniment, but the voice part can be adapted to almost any instrument. In these little pieces, grave, gay or lyrical, with their discreet polyphonic imitations between melody and accompaniment, the Hungarian accent is so perfectly absorbed into Kodály’s habit of discourse that there is hardly a hint of the exotic about them: they simply testify to a rare serenity of spirit and delight in music-making.Calum MacDonald © 2010

• Wykonawca Clein Natalie , Drake Julius
• Data premiery 2010-01-01
• Nośnik CD

Tracklista: 1. Hush2. All Over Me3. Frozen4. Revenge5. Break6. Rubbish7. Come With Us8. Happy Birthday9. The Hardest Walk10. This Is Life11. Further

• Wykonawca I Sileni
• Data premiery 2017-03-03
• Nośnik CD

Najnowszy album JAMESA YORKSTONA jednego z ulubieńców Johna Peela. Artysta od lat plasował się w czołówce songwritterów brytyjskiej sceny. Tym razem zebrał do składu swojego zespołu muzyków znanych z THE CINEMATIC ORCHESTRA i LAMB co przydało jego muzyce większego rozmachu. Bogate aranże nadają folkowym piosenkom Yorkstona dodatkowej energii. Partie skrzypiec czy klarnetu przywodzą na myśl dokonania mistrzów americany, ale jednocześnie jest w tej muzyce coś z ducha dokonań VAN MORRISONA. Piękna płyta.Lista utworów:1. Catch2. Kath With Rhodes3. Border Song4. This Line Says5. Just As Scared6. Sometimes The Act Of Giving Love7. The Fire & The Flames8. A Short Blues9. Spanish Ants10. Two11. I Can Take All This

• Wykonawca Yorkston James
• Data premiery 2012-12-11
• Nośnik CD

Tracklista: 1. We Drink Your Blood (Rerecorded Version) 2. Army Of The Night 3. Demons Are A Girl's Best Friend 4. Werewolves Of Armenia (Rerecorded Version) 5. Saturday Satan (Rerecorded Version) 6. Amen & Attack 7. Where The Wild Wolves Have Gone 8. Resurrection By Erection (Rerecorded Version) 9. Sanctified With Dynamite (Rerecorded Version) 10. Kreuzfeuer 11. Armata Strigoi 12. Kiss Of The Cobra King (Rerecorded Version) 13. Killers With The Cross 14. Sacred & Wild 15. In Blood We Trust (Rerecorded Version) 16. Let There Be Night

• Wykonawca Powerwolf
• Data premiery 2020-07-03
• Nośnik CD

Tracklista: CD 1 1. She Didn't Believe 2. I'll Be Reborn Blues 3. Turn This Into Gold 4. The Deeper They Bury Me 5. Mumbai 6. The Good Life 7. I Can't Imagine My Life Without You 8. Freedom Flowers 9. Let Go 10. Rainbow Pacmen And Unicorns CD 2 1. Weakness 2. Dark World 3. Ghost Train 4. Bitch With The Head Of Red 5. Gemini 6. Roses And Lavender 7. White Dog 8. Automatic Gun 9. Are You Still Alive Inside 10. Little Sister

• Wykonawca Zoe Layla
• Data premiery 2018-10-12
• Nośnik CD

Tracklista:1. I'm Not Your Stepping Stone2. Hit the Road Jack3. I Can Tell4. Little Queenie5. Pipeline6. Louie Louie7. Hang On Sloopy8. Gloria9. Wipeout10. I Ain't Superstitious11. The Wizard12. Play With Fire13. Green Onions14. In the Midnight Hour15. As Tears Go By16. Eve of Destruction17. I'd Much Rather Be With the Boys

• Wykonawca Johnny Thunders
• Data premiery 2016-09-09
• Nośnik CD / Album

Trzecia część najbardziej stylowego i wysmakowanego cyklu kompilacji Marka Sierockiego. Na Swingin’ Again 3 znajdą się utwory w wykonaniu takich mistrzów gatunku jak m.in. Duke Ellington, Dave Brubeck, Stan Getz, Benny Goodman, Andy Williams czy Nina Simone. Tracklista: CD 11. Barry Manilow - Strangers In The Night2. Johnny Mathis - The Look Of Love3. Andy Williams - Can't Get Used To Losing You4. Bobby Vinton - Take Good Care Of My Baby5. Doris Day With Harry James & His Orchestra - I May Be Wrong (But I Think You're Wonderful)6. Duke Ellington & His Famous Orchestra - After All7. Floyd Cramer - On The Rebound8. Nina Simone - I Want A Little Sugar In My Bowl9. Ray Barretto - La Cuna10. Sarah Vaughan - Nice Work If You Can Get It11. George Benson - Stormy Weather12. Aretha Franklin - Laughing On The Outside13. Rosemary Clooney With Harry James & Harry James' Orchestra - In The Cool, Cool, Cool Of The Evening14. Dave Brubeck - There'll Be Some Changes Made15. Dinah Shore - Mood Indigo16. Tony Bennett - Crazy Rhythm17. Vic Damone - Me And My Shadow CD 21. Buddy Greco - Fly Me To The Moon (In Other Words)2. Benny Goodman & His Orchestra - Jersey Bounce3. Doris Day - Move Over Darling4. Peggy Lee - On The Sunny Side Of The Street5. Vic Damone With Percy Faith & His Orchestra & Chorus - On The Street Where You Live6. Perry Como - I've Got You Under My Skin7. Ray Conniff & The Singers - These Foolish Things (Remind Me Of You)8. Henry Mancini & His Orchestra - Raindrops Keep Fallin' On My Head9. Harry Belafonte - Banana Boat Song (Day-O)10. Jimmie Lunceford & His Orchestra - T'Ain't What You Do (It's The Way That Cha Do It)11. Carol Sloane - Taking A Chance On Love12. Andreas Weise - Quiet Nights Of Quiet Stars (Corcovado)13. Percy Faith & His Orchestra - The Song From Moulin Rouge (Where Is Your Heart)14. Grover Washington, Jr. - When I Fall In Love15. Gato Barbieri - Blue Eyes16. Peter White - What Does It Take (To Win Your Love)17. Chris Botti - Lisa

• Wykonawca Various Artists
• Data premiery 2016-10-21
• Nośnik CD

Na płycie znajdziemy wielkie hity zespołu Bee Gees w tym między innymi „Stayin' Alive”, „Spirits Having Flown”, „Too Much Heaven”, „Night Fever”, „You Should Be Dancing”, „Nights On Broadway” i wiele innych. Tracklista:  1. Jive Talkin'  2. You Should Be Dancing  3. Love So Right  4. Stayin' Alive  5. Nights On Broadway  6. How Deep Is Your Love  7. Tragedy  8. (Our Love) Don't Throw It All Away  9. Night Fever  10. More Than A Woman  11. Fanny (Be Tender With My Love)  12. Spirits Having Flown  13. If I Can't Have You  14. Boogie Child  15. Love You Inside Out  16. Too Much Heaven  17. Emotion  18. Wind Of Change

• Wykonawca Bee Gees
• Data premiery 2019-03-12
• Nośnik CD