This disc contains some of Szymanowski’s most overtly sensual and vividly gestural music; his lush, exotic textures intensified and crystallized in miniature. From the early Violin Sonata in D minor onwards, evidence of the composer’s unusual brilliance in writing for solo violin is paramount. The Romance in D major Op 23 (1910), first performed in Warsaw in April 1913, already reveals a considerable advance towards the exotic, strangely inward exaltation of mature works. In the extraordinary Mythes (1915) Szymanowski reaches the zenith of his artistry, creating ‘a new mode of expression for the violin’ and through this an intoxicating, other-wordly musical language. This recording features the wonderful young violinist Alina Ibragimova, who appears on her third Hyperion disc. Her growing catalogue is receiving the highest critical acclaim. Accompanying her is an equally youthful yet highly distinguished performer, the French pianist Cédric Tiberghien.GRAMOPHONE RECOMMENDS; BBC RADIO 3 CD REVIEW DISC OF THE WEEK; BOSTON GLOBE TOP CLASSICAL ALBUMS OF 2009 'We are living in a Second Golden Age of violinists, but even in the context of Hilary Hahn, Leila Josefowitz and Julia Fischer, Alina Ibragimova is an astonishing talent … Technically the playing is superb. Intonation is exceptional, and Ibragimova's timbral range - from the coarse to the silken, from the richly throbbing to the chastely disembodied - seems unlimited. The music is studded with challenges … she tosses it all off with self-confident authority … Cedric Tiberghien, with whom Ibragimova has played often, offers a real partnership rather than mere support … This is a major release' (International Record Review)'This is a performance that shows Ibragimova's art at her remarkable best; at one moment poised, the next playing with abandon, she is one of the most expressive violinists around' (BBC Music Magazine)'Ibragimova and Tiberghien make a winning combination, both in the sweltering sensuality of the central works and in the more conventional late-Romantic effulgence of the warm-hearted Sonata of 1909 … This repertoire should be high on the priority list of all those interested in 20th-century violin music, and it's not easy to imagine a stronger case being made for it than here' (Gramophone)

• Wykonawca Ibragimova Alina , Tiberghien Cedric
• Data premiery 2009-03-10
• Nośnik CD

Krzysztof Meyer Works for Piano vol. 1 1. Aforyzmy na fortepian op. 3 | Aphorisms for piano Op. 3 (1961) 2. I Sonata fortepianowa op. 5 | Piano Sonata No. 1 Op. 5 (1962) 3. II Sonata fortepianowa op. 7 | Piano Sonata No. 2 Op. 7 (1963) Marek Szlezer – fortepian | piano

• Wykonawca Szlezer Marek
• Data premiery 2013-09-05
• Nośnik CD

As a young and aspiring composer, Handel spent 1706-1710 in Italy. These were years that would prove decisive for him, as he met with excellent opportunities to expand and perfect his skills, especially in the genre of vocal music. Based in Rome, where opera was banned by papal decree, Handel only composed two works in this most Italian of genres during his stay. Instead, following the example of other composers in the Holy City, he opted for another genre which incorporated similar dramatic and expressive qualities – the cantata. During his Italian years, it is believed that Handel may have written as many as 150 such works, including a number of so-called cantate con stromenti for one or more solo voices plus additional instruments. The four cantatas on this disc feature the standard combination for such works: soprano, two violins and basso continuo. Thematically, they can be grouped in pairs: Notte placida e cheta (Calm and Placid Night) and Un’ alma innamorata (A Soul in Love) tell of unhappy love and contain elements from Classical mythology against a pastoral backdrop. By contrast, Figlio d’alte speranze (Son of High Hopes) and Agrippina condotta a morire (Agrippina Led to Her Death) tell tales of power, and of its use and abuse. Each cantata presents a small drama in its own right, and can be seen as a preliminary study in the field of opera, in which Handel thoroughly explores the best ways of using the expressive means at his disposal.This exciting programme is presented by Emma Kirkby and London Baroque, household names in the sphere of ‘early music’ and beyond, and certainly no new-comers to the works of Handel. Indeed, when they last joined forces in a Handel programme (BIS-CD-1065) the website MusicWeb International called the performances ones that ‘make one wish that all Handel music making could be of this order’, while the reviewer in BBC Music Magazine wrote ‘I've seldom been as moved by a recording, both music and performance’.

• Wykonawca London Baroque , Kirkby Emma
• Data premiery 2008-06-01
• Nośnik SACD

Together with "Carus", under the direction of Hans-Christoph Rademann, the Dresdner Kammerchor will realize the first complete recording of the works of Heinrich Schuetz by 2017. The "12 geistliche Gesaenge" is Vol. 4 of this project. These works were published in 1657 for practical use in churches, schools and at home. While some of the pieces, such as the well known "Benedicite vor dem Essen" (All our eyes do wait, O Lord, upon thee) are still sung for practical use by many choirs, other pieces of the cycle are completely unknown. At present, this recording is the only one which presents the "12 geistliche Gesaenge" in a complete recording. The Dresdner Kammerchor and Hans-Christoph Rademann have focused attention on previously hidden aspects of Schuetz's works and have revealed valuable treasures. These motets are truly worth discovering and have earned a well deserved place in the concert halls, homes, and churches of today.

• Wykonawca Dresdner Kammerchor
• Data premiery 2012-03-01
• Nośnik CD