21st Mazurkas

Polish wind quintets vol. 3

Spanish music

This album features four compositions created over the past eight years, drawn from the rich catalog of Pawel Hendrich, a composer recognized by festivals, ensembles, and musical institutions worldwide. These works demonstrate the composer's consistent development of his unique style, with a particular focus on the architecture of musical form. The title, Fractals, perfectly encapsulates the essence of their structure, highlighting the limitations of material means, yet framed within diverse time and spatial scales. This is music that is deeply contemporary in it's expression, where robotic elements-requiring near-superhuman technical skill-are intertwined with the omnipresent spirit of improvisation, a domain that can only be fully realized by the human performer. The composer leaves the decision of which element will dominate to the performers each time they take the stage. The album is a live recording of brilliant interpretations by soloists and ensembles specializing in contemporary music performance, hailing from Poland, Austria, and Switzerland. These performances, recorded during Polish contemporary music festivals, feature the composer himself creating the electronic layer, bringing the compositions to life in an electrifying and dynamic way.

Young violinist Gabriela Balcerek, only just at the beginning of her career, confirms her great talent and natural musicality with her already second album recorded with the Sinfonia Viva orchestra. The repertoire of the album consists of stylistically diverse pieces, from Romanticism to the present; moreover, they represent the most famous violin and chamber miniatures. These are compositions by Polish and foreign composers, in which stylized folklore is intertwined with truly Romantic passion. Arranged by Tomasz Radziwonowicz for solo violin and string orchestra, they gained a new, fresh sound, in which the dense harmonic structure and parts of individual instruments approached as if they were solo instruments draw attention. Young violinist Gabriela Balcerek, only just at the beginning of her career, confirms her great talent and natural musicality with her already second album recorded with the ensemble. This is a cheerful album, at which the listener will smile more than once, following it's title. The joy of love, but also of youth and of celebrating music among artists who share energy and passion, can be heard in every sound.

Paderewski Orchestra plays Paderewski - youth and energy on a new DUX album The album features recordings of two compositions by Ignacy Jan Paderewski, both willingly played by pianists and both Polish to the core - the Concerto in A minor and the Polish Fantasy. The album features recordings of two compositions by Ignacy Jan Paderewski, both willingly played by pianists - the Concerto in A minor and the Polish Fantasy. They were created in the youthful period of the composer's oeuvre, but they are still characterized by a mature compositional technique, rich melodies and bold instrumentation. Both the Fantasy and the Concerto ooze the spirit of Polish music, which can be seen in the structure of motifs, harmony and vital rhythms of mazur and krakowiak. The pompous orchestral fragments intertwine with the lyrical ones. Particularly noteworthy are the beautiful piano solos accompanied by the solo violin and cello in the second movement of the concerto. Both compositions are distinguished by a clear virtuoso feature; however, it is subordinated to the musical contents. The young performers perfectly feel the character of Paderewski's music; in their interpretation, it is full of passion, pride, nostalgia, but also wit, expressing the unchanging qualities of the Polish soul.

The album contains compositions for female and mixed choir by a young artist, Zuzanna Koziej, fascinated by traditional culture. They are based on Kurpie, Vilnius, Lublin and other melodies present in many variants in various regions of Poland. These compositions are a response to the need to show a nostalgic, lyrical version of folk music. The works are largely improvised - the parts written down in the score are supplemented by solo vocal and instrumental improvisations. The latter is the responsibility of Tomasz Drozdek, a multi-instrumentalist who perfectly plays the cimbalom, bells, pipes, percussion instruments, pump organ, zither and lyre. In the works by Zuzanna Koziej, folk melodies take on a shape no less natural and authentic than in their original context. Their author speaks her own, honest language, in which the musical layer closely coincides with the text. The Astrolabium Choir fits perfectly into the magical sound aura of the entire album, bringing to mind the old tradition of polyphonic singing, present in the everyday life of the inhabitants of the Polish countryside.

Zygmunt Krauze: Konteksty Contexts

This album features a stunning collection of works, including compositions from the past few decades that highlight the extraordinary talents of the Flaubinette Trio. One standout piece is by Roman Czura, written exclusively for the trio, with a title that directly references their name. It's the only work on the album that incorporates contemporary techniques, blending aleatoric elements with striking motifs, all expertly structured in a classical three-part form. The rest of the repertoire is equally captivating, with an uplifting character and harmonies that dance around an expanded tonality, avoiding harsh dissonances. Influences from dance music, burlesque, and impressionism subtly emerge throughout, creating a unique, engaging sound. Each composition is an opportunity to experience the rich timbre and dynamic range of the wind instruments, showcasing their expressive capabilities in every note. The varied textures, intricate melodies, and sophisticated dialogues between instruments offer a platform for virtuoso performances by the Flaubinette Trio and pianist Magdalena Dus, who joins them in the final track. Passionate about chamber music, the Flaubinette Trio has earned numerous international accolades and maintains an exceptional level of musical synergy. Their longstanding collaboration is palpable, delivering an unforgettable listening experience that celebrates both technical mastery and musical intimacy.

TEBE BOGA HVALIM WE PRAISE THEE, O GOD : Sacred Music of Polish and Serbian Composers

On the CD Musica Warmiensis Vol. 4, we can discover further sacred pieces from the second half of the 18th and first half of the 19th centuries, performed by church music ensembles active in the historic region of Warmia. Scores from that period were found in the collections of the Library of the Higher Theological Seminary of the Warmia Metropolis "Hosianum" in Olsztyn by the Reverend Father Tomasz Garwolinski, who is also the originator and main implementing party of the project. These are mostly sacred vocal and instrumental compositions, but also songs and symphonies. The pieces are written for an ensemble known from other religious centres in Poland, including a four-part choir, soloists, a group of string and wind instruments and an organ - a total of from a few to a maximum of seventeen musicians. The album features world premiere recordings of joyful compositions, full of vitality, which - in excellent interpretations of the orchestra and soloists - will certainly again captivate listeners with their radiant tones.

The album features songs by Polish composers created during the 20th century. The entire collection is highly diverse in terms of style. From Zarzycki's late-Romantic songs, in the musical and textual layer, through Rogowski's cycles - inspired by the Orient and Croatian folklore - and Sawa's songs (recorded for the first time on this album), using new expressive techniques, to Lukaszewski's songs, completely contemporary, whose musical language refers to the meditative Hindu music. Rogowski's cycle is exceptionally beautiful, where the soprano and the piano are accompanied by the violin in virtuoso cadenzas. Songs for an extended ensemble, with cello and saxophone, provide artists with an opportunity to show the potential of outstanding chamber musicians, and all songs are saturated with the expressive singing of Dorota Calek.

Koledy a cappella / Christmas Carols a Cappella

Contemporary folklore inspirations - Lodz Philharmonic Choir and it's guests on a new DUX album The album refers to the long tradition of folklore in Polish classical music. It is continued by the creators of the arrangements of folk melodies dedicated to the Lodz Philharmonic Choir. The album refers to the long tradition of folklore in Polish classical music. It is continued by the creators of the arrangements of folk melodies dedicated to the Lodz Philharmonic Choir and featured on the album. The arrangements vary - from those closer to popular music, through sounds typical of national folk song and dance ensembles, to those representing a classical approach, with rich harmonies and inconspicuous folk motifs. The abundant number of performers is noteworthy - in addition to the excellent choir with a typically classical sound, the recording also features traditional singing, a string quartet in jazz and folk aesthetics and vocals typical of popular music. Each of the composers is inspired by folklore in a slightly different way, which makes the compositions sound fresh and intriguing. The performers are artists with comprehensive experience, which is reflected in the creative approach they adopt to interpret both well-known and lesser-known traditional Polish melodies.

Omikuji for spoken voices, violin, flute (including bass flute), clarinet (including bass clarinet), piano, percussion, and fixed sounds

The compositions of Andrzej Nikodemowicz, an artist closely associated with Lviv and Lublin for many years, form an auditory image of our times. Sonoristic techniques, a rich instrumental ensemble, and aleatoricism, along with a virtuoso, expressive solo violin part, create a picture of music filled with emotions-dynamic and dramatic. This aesthetic is perfectly embraced by the outstanding violinist Dominika Falger, whose brilliant technique always serves the emotional expression.

The album contains recordings of three sonatas by Paul Hindemith, who began his compositional career under the influ ence of Claude Debussy - who was still active back then - and ended it in a com pletely different reality of the 1960s, in the era of sonoristic, formal and har monic experiments. He was also an excel lent violist, hence a significant number of his works dedicated to viola. The first sonata is still of a romantic nature; it cap tivates us with it's beauty and richness of motifs, whereas the other two are much more contemporary in terms of sound. All of them are demanding, both technically and structurally. Maria Shetty, a violist associated with the Cracow Academy of Music and the NOSPR, chamber musician, co-founder of the Messages Quartet, and pianist Monika Wilinska-Tarcholik form a perfect duo. They guide the listener through complex, meaningful musical matter with virtuoso flair and with great sensitivity to tone colour and stylistic details.

Alexandre Tansman's masterpieces for violin and piano show the evolution of the composer's style as well as his ingenuity and courage in reaching for innovative harmonies and ways of developing the musical dialogue. The interpretations of both artists, known for their solo and chamber music activities, prizewinners of numerous competitions, are almost exemplary creations, captivating with the beauty of sound and the depth of musical understanding. An outstanding album that will satisfy the greatest connoisseurs of violin and chamber music.

The two-disc album contains as many as ten premiere recordings - stylistically diverse pieces by contemporary composers showing the possibilities of wind instruments as well as the talent and versatility of their creators. The outstanding Cracow clarinettist Piotr Lato is responsible for the entire project. Together with the invited musicians, he leads listeners through the world of wind instruments in various chamber ensemble combinations.

This album features a unique recording of Die sch�ne M�llerin (The Beautiful Maid of the Mill), one that stands apart from most interpretations. It is the first performance of this song cycle in Poland-and one of the first worldwide-by a countertenor, accompanied by a historical piano. The high register of the countertenor amplifies the sense of innocence and the intensity of the protagonist's emotions-a young miller tragically in love. Written by the 26-year-old Franz Schubert, Die sch�ne M�llerin is now regarded as one of the pinnacles of the Romantic lieder tradition. The music is not merely an accompaniment to the text, but a complete entity in itself, responding to the subtlest shifts in the character's emotions while masterfully painting the backdrop for the unfolding drama. Although the love story does not have a happy ending, the overall tone of the work remains surprisingly light-hearted, perhaps reflecting the bittersweet nature of the narrative. It is in this delicate balance that the secret to the enduring popularity of Die sch�ne M�llerin lies. The cycle offers a brief escape, allowing listeners and performers alike to immerse themselves in a world that no longer exists, yet still moves the imagination with equal power.

The first Polish recording of the full cycle of Franz Liszt's Transcendental Etudes in their final version from 1851. Radoslaw Sobczak is a pianist equally endowed with virtuoso instinct and great musical sensitivity; his recitals have graced prestigious events on four continents; winner of an honourable mention in the International Chopin Piano Competition. On the album, he faces one of the most demanding piano pieces, the difficulty of which lies not only in the technical layer, but also, and perhaps especially, in the musical one. Behind the extremely dense texture and the cascades of chords and passages, there is the composer's musical idea, and sometimes even programmatic contents - as in the famous Mazeppa etude. Out of the rush of sounds, lyrical motifs emerge, while complex harmonies reflect an entire range of emotions that need to be conveyed to the listeners. The artist copes with this challenge excellently; his pianism perfectly harmonizes with the spirit of Liszt's virtuosity. Metaphysics and contemplation collide in his interpretations with the saturated, deep sound of the piano.

Celtic Harp Tales album is the essence of the magical sound of the harp. It brings out the sensitivity of the outstanding harpist Amelia Tokarska and her superb interpretation of Celtic melodies. Fifteen brand-new traditional Celtic themes adaptations written by Pawel Bilinski. Recorded entirely in the incredible Cavatina Hall concert hall and Polish Radio studio. The sound space was created by legendary sound engineer Tadeusz Mieczkowski. The album is also available in Dolby Atmos TM immersive format on top streaming platforms. With master percussionist Slawomir Berny, multi-instrumentalist Marcin Ruminski on whistles and bagpipes, outstanding violinist Krzysztof Maciejowski on 5-string electric violin with delicate addition of electronics played by Pawel Bilinski. A cinematic journey through the old Celtic stories. Released by the DUX label.

The Ensemble Jerycho's newest album is dedicated to the oeuvre of one of the most famous composers of the Renaissance era, Josquin des Pres, in reference to the 500th anniversary of his death, which took place in 2021. The album includes his Missa "Mater Patris", which already in the 16th century was arranged by a Pole - Krzysztof Borek - for the needs of the College of Rorantists from Cracow and which received a new name - "Mater Matris". Supplemented by additional voices, it enriched the collections used during solemn masses, graced by a four-part collegiate choir. Compared to other compositions by des Pres, the musical language of the work can be considered anachronistic, since the composer reached for old techniques, including in the field of voice leading. The Ensemble Jerycho presents the music of the Renaissance master in a dynamic way, full of colours, restoring the sound of the piece in the original notation, hence the extension of Borek's version with the movements that he had left out. The whole is complemented by other vocal works by des Pres, as well as by a motet by Antoine Brumel, which musically inspired the Mass.

A two-disc album featuring a cross-section of Pawel Strzelecki's compositions from the early period of his oeuvre. The recordings made with the participation of outstanding soloists and chamber musicians show the versatility of the composer and the ease with which he reaches for traditional forms while using rich melodies and harmonies as well as quotes from and elements of Polish folklore. The stylistically diverse, expressive pieces are intended for different instrumental ensembles, which makes this compilation extremely interesting.

The album contains choral works composed by Tadeusz Paciorkiewicz in the years 1946-1988, from the oldest Kurpie Songs, based on traditional melodies and folk texts, to the latest Polish Litany. The evolution of the composer's individual style is visible, but it oscillates within the limits of tonality - from the major-minor tonal system to the extended harmony closely related to the text of the composition in terms of mood. Typical of Paciorkiewicz's work is the combination of strict homophonic texture with rich polyphony as well as the emphasis on the emotional expression of the piece achieved with the help of sophisticated dynamic, harmonic and textural nuances. The Czestochowa Collegium Cantorum Choir is known for, among others, numerous premieres of contemporary music; it has given concerts in several countries and on three continents. Under the baton of the ensemble's founder, Janusz Siadlak, the artists inventively perform songs and religious works, emphasizing the diversity of moods and the proper interpretation of the texts, whose authors include the names of the most outstanding Polish poets.