Bach’s direct source of inspiration for the cello suites was most probably the virtuoso cello playing of Christian Ferdinand Abel, also in the service of Prince Leopold of Köthen and a superb violinist and viola da gamba player as well. This must, however, remain guesswork, as the original manuscripts of the cello suites have been lost. It is primarily thanks to Anna Magdalena Bach, Bach’s second wife and a singer in service to Prince Leopold with the title of Cammer-Musicantin, that we owe the survival of these works. It was she who prepared many first copies of Bach’s works, including the earliest known copy of the cello suites. Quirine Viersen uses the most recent edition from Bärenreiter as the basis for her first recording of the Bach cello suites; this edition is an amalgamation of four manuscript copies, including the original copy by Anna Magdalena Bach. After in-depth study of the Bärenreiter edition and of the historical musicological works by Mattheson, Leopold Mozart and Quantz, the greatest musical theorists of the Baroque era and the forefathers of today’s historically informed performance movement, Quirine Viersen allowed herself to be guided by instinct rather than by intellect and finally decided to follow her own intuition. Having said this, she did study the Suites with her teacher Heinrich Schiff, played them in a masterclass with Yo-Yo Ma and took lessons with no one less than Nikolaus Harnoncourt. But most of all she took to heart the lessons she received from her own father Yke Viersen: principal Cellist with the Concertgebouw Orchestra for the last 30 years. Quirine Viersen about the Suites: “Even though the suites were not composed for ecclesiastical use, they do seem to deal with higher matters. This has nothing to do with ‘Amen’ or ‘Allah hu akbar’. I feel that we are people who attempt to come as close as possible to the heart of our existence. In many ways we have possibly become a little unworthy; we have torn ourselves loose and have completely forgotten that things can often have a deeper meaning, that these things can exist in a broader context. This was self-evident to Bach, for his life and his works were permeated with awe for higher things, for God. This was an integral part of the time in which he lived. Bach was not simply a man whose musical genius would never be equalled but was also an enthusiastic and inspired craftsman who set himself the highest demands.” “The German language draws a felicitous distinction between two different types of people: Kopfmensch and Bauchmensch. The first relies on his head, his intellect, whilst the second relies on his belly, his gut feelings. I am clearly a Bauchmensch. When I am on stage I am principally concerned with what I feel, with trying to express what I believe lies inside Bach’s music. What was Bach’s intention in composing his suites for cello? For me they are a landscape in which everything exists to be discovered afresh. Many musical narratives are possible and each landscape has its own perfumes and colours; each movement represents a particular state of mind. To traverse Bach’s music is to traverse infinity.”  

• Wykonawca Viersen Quirine
• Data premiery 2011-09-01
• Nośnik SACD

Among requiems, the one composed by Johannes Brahms is unusual in more than one way. First of all, it was one of the first works with that title that didn’t employ the standard text, in Latin, of the Roman Catholic Mass for the dead. Brahms instead compiled his own text from the German Bible of Martin Luther, placing the focus on the living rather than on the dead, as demonstrated by the beginning of the work: ‘Blessed are those who bear pain: for they shall be comforted.’ The result is a work suffused with the glow of humanism, notably less concerned with sin and punishment than many other works in the same genre. Indeed, in connection with one of the first performances of the work, Brahms said regarding the title that he ‘would gladly give up the German and simply put human’. It is this work, then, that Valery Gergiev chose to perform at his final concerts as principal conductor of the Rotterdam Philharmonic Orchestra. This memorable event – the finale of an era in the life of the conductor as well as in the history of the orchestra – was captured on film, and is now being released on DVD. For the performances, and recording, of this work, in which the choir plays a central role, the orchestra invited the renowned Swedish Radio Choir, as well as the soloists Solveig Kringelborn and Mariusz Kwiecień.

• Wykonawca Kringelborn Solveig , Kwiecień Mariusz
• Data premiery 2010-01-01
• Nośnik DVD

Wydawnictwo FFV Records przedstawia płytę ze wszystkimi kompozycjami Ignacego Jana Paderewskiego przeznaczonymi na duet skrzypiec z fortepianem. Na albumie znajduje się światowa premiera fonograficzna - kompozycja The Birch Rustles in the Grove op. 7 w aranżacji wykonawców. Jedna z poprzednich płyt duetu Sławomir Tomasik / Robert Morawski, dwupłytowy album Karol Szymanowski – Complete Violin & Piano Works, otrzymała nagrodę Fryderyk 2011. Muzycy: Sławomir Tomasik: skrzypce Robert Morawski: fortepian Tracklista: 1. Song 3:28 2. Romance 6:44 3. The Cracovienne Op. 9 No. 5 3:08 4. Melodie Op. 16 No. 2 5:01 5. The Birch Rustles in the Grove Op. 7 2:46 6. Allegro de Concert in G minor 18:28 7. Sonata in A minor Op. 13: I. Allegro con fantasia 10:43 8. Sonata in A minor Op. 13: I. Allegro con fantasia 6:03 9. Sonata in A minor Op. 13: III. Finale - Allegro molto quasi presto 8:08

• Wykonawca Tomasik Sławomir , Morawski Robert
• Data premiery 2020-03-20
• Nośnik CD

Tracklista:1. Visions of Hypocrisy2. Encased in Glass3. Benediction of Faith4. Apocalypse5. Maniac6. Resurrection7. Works of Fire8. False Prophet9. Deceiver10. See'r11. Eyes of Christ

• Wykonawca Funeral Nation
• Data premiery 2015-05-04
• Nośnik CD / Album

Continuing its work with the rising stars of the early music world, CORO is delighted to be releasing a brand new recording by one of The Sixteen Orchestra’s principal members - organist Robert Quinney.Recorded at The Queen’s College, Oxford, on the beautiful Frobenius Organ (one of the most notable instruments of its kind in the country), the Trio Sonatas are among Bach's most popular and appealing organ works. Complied in the composer’s later years, perhaps as studies for his eldest son Wilhelm Friedemann, the Trio Sonatas are a unique set of works in the organ repertory. Bach transferred to the organ the Italian trio sonata with its two treble voices and bass continuo; for the organ works, Bach uses right hand, left hand, and pedal.Robert Quinney is Sub-Organist of Westminster Abbey and played at the Royal Wedding of Prince William and Catherine Middleton in April. In addition to his daily work at the Abbey, he maintains a busy freelance schedule as a soloist and ensemble player, and is also Director of Oundle for Organists, whose residential courses offer inspiring tuition for young organists. His double compact disc The Grand Organ of Westminster Cathedral, recorded in 2004, was Instrumental Disc of the Month in BBC Music, earned a 5-star review in the French journal Diapason, and was an Editor’s Choice in Gramophone. To see a preview video of the CD online search ‘Robert Quinney’ on YouTube.

• Wykonawca Quinney Robert
• Data premiery 2011-08-01
• Nośnik CD

Berlin's libraries contain innumerable historic manuscripts. Studying the 18th century archives, one can't fail to notice the profusion of highly virtuosic works for the viola da gamba. How did such an accumulation of compositions arise for an instrument that — in other parts of Europe at that time — was already long past its zenith of success? Both Frederick the Great (1712-1786) and his successor Frederick William II (1744-1797) were great musical benefactors. Almost every important late-18th -century viola da gamba virtuoso came to play at the Berlin court during their reign. The greatest virtuoso of the time didn't have to be summoned, because he was already engaged at the court: Ludwig Christian Hesse (1716-1772). The presence of this great virtuoso led to the creation of many works for viola da gamba at the Berlin court, generally technically very demanding and idiomatically written, which are directly linked to Hesse

• Wykonawca Klein Irene
• Data premiery 2008-11-01
• Nośnik CD

This rarity in the catalogue brings together Robert Schumann’s complete production for violin and orchestra – three works from the period just before the composer was confined to the mental institution where he would die within two years. To various degrees, all of this music remained suppressed, forgotten or disregarded after Schumann’s death. The only work that was performed in Schumann’s lifetime was the Fantasy in C major, dedicated to the violin virtuoso Joseph Joachim. But although the première was a success and Joachim kept the work in his repertoire, the Fantasy fell victim to the incomprehension that a large part of Schumann’s final works met with, and was for a long time rarely heard in performance. Written shortly afterwards, the Violin Concerto in D minor suffered an even harsher fate. Schumann also intended this work for Joachim, but although the latter was closely involved in the process of composition, he never performed the work in public. Instead, after the composer’s death he and Schumann’s widow Clara decided against publishing the work, which remained unperformed until 1937. It is likely that Schumann made the violin version of his Cello Concerto after composing the D-minor concerto, and probably it was once more Joachim who provided the inspiration. In any case, it was among Joachim’s papers that the solo violin part with Schumann’s handwritten additions was found, as late as 1987! A dedicated advocate of Schumann’s music, the soloist Ulf Wallin has gone back to the composer's autographs in order to present these works in their purest form. He is aided by the fine team of the Robert- Schumann-Philharmonie and their conductor Frank Beerman, making their first appearance on BIS. Ulf Wallin, on the other hand, has made a succession of acclaimed recordings for the label, earning him mentions as ‘a mesmerizing soloist’ in BBC Music Magazine, and ‘a violinist of many facets, at the same time hallucinatory and direct, refined and accessible’ in Diapason.

• Wykonawca Wallin Ulf
• Data premiery 2011-05-01
• Nośnik SACD

Collection of works from Wagner's 'Tristan und Isolde', performed by the Chor and Symphonieorchester des Bayerischen Rundfunks and conducted by Leonard Bernstein in 1981.

• Data premiery 2018-01-15
• Nośnik Blu-ray Disc

Tracklista:1. The Hero2. The Hero's Adversaries3. The Hero's Companion4. The Hero's Deeds In Battle5. The Hero's Works of Peace6. The Hero's Retirement From The World And Fulfilment Of His Life7. Metamorphosen (Study for 23 solo strings)

• Data premiery 2003-08-18
• Nośnik CD

  The process of diminution in the music of Giovanni Bassano (c1558-1617) should not be understood in an over-literal sense: the diminution of note values significantly increases the technical demands of these works. Around 1600, Bassano perfected the art of ornamentation in the melodic lines of polyphonic works through fast figuration patterns, particularly in his music for wind instruments, creating a dazzling display of virtuosity. He not only applied this principle to his own partitas and fantasias but also to the works of other composers; in a volume published in 1591, he compiled a collection of compositions by contemporary masters such as Palestrina and Cipriano de Rore reworked according to his own unmistakable style, creating instrumental and vocal works for virtuoso soloists. Monika Mauch and the Capricornus Ensemble Stuttgart set off on a voyage of discovery in this new recording of arrangements and original works by Bassano, highlighting this unfamiliar tonal world with the aid of their colourful instrumental palette.  

• Wykonawca Mauch Monika , Capricornus Ensemble Stuttgart
• Data premiery 2011-08-01
• Nośnik CD