A recital of guitar transcriptions, from young guitarist Piotr Przedbora. Playing the guitar is Mr. Przedbora's life's passion: he successfully performs repertoire from Classical to contemporary. He is laureate of over 20 international and national competitions, receiving 19 First Awards, and 3 Grand Prix.

VERDI - KALUDI KALUDOW - TENOR

Martinu: Chamber Music

SYMPHONIA IN B, POLONIA

French Music for Piano Duo

HALKA

THE SEASONS. 12 CHARACTERISTIC

Featured on this album, Missa ex D by Józef Zeidler (around 1744-1806) was intended for four voices (SATB) and instruments - two violins, two trumpets and organs. Zeidler displays in it solid compositional skill, which abounds in a variety of employed means. The collection includes two compositions by Antoni Habel (1760-1831), including one symphony. Symphonia was written for two violins, a viola, two flutes, two horns and a basso. In the then Commonwealth, church centers and bands acting in them played a major role in popularizing the symphonies. They served as a setting of church services. It was therefore a type of a local church symphony, which drew on European standards. Habel's Symphony is an example of this. The MUSICA SACROMONTANA Festival serves the continuation of the intentions of the Filipino Order, who wanted to evangelize through the broadly understood propagation of culture. It is thanks to their efforts that in the 17th century a great band was created there, and the greatest composers came to Gostyń.

This new release is a musical journey of two jazz musicians through the land of melody, harmony, rhythm and the fully acoustic sound of instruments. These pieces offer up a clash of classical instrumental texture with the freedom of jazz improvisation. All of the music heard here was written especially for this duo, who extend what is between the notes, filling the space with dialogue and creation of new sounds, textures, and colors. Preludes - by definition - are short instrumental pieces, often of an improvised character, which are an introduction to a larger musical work. And here the author of the album, Marcin Wadolowski, has invited one of the best bassists, Piotr Lemanczyk, to explore these short pieces with him. The result is an exciting sound journey.

The one-act opera Djamileh by Georges Bizet set to the libretto by Louis Gallet tells an oriental love story between the slave named Djamileh and Cairo sultan Haroun. The plot, bringing to mind the atmosphere of One Thousand and One Nights, is a quite typical example of Romantic fascinations with the Far East. Bizet's had his doubts about the work- many considered it to be too difficult for a stage adaptation. However, the artistic craft of the creator of the balanced libretto surrounding the story of oriental lovers with a suggestive sound, and the craftsmanship of Jennifer Feinstein, performing the title, allows the listener to enjoy all the values ​​of this little known opera. Mezzo-soprano Jennifer Feinstein has been likened by the Los Angeles Times to "a young Horne, so rich is her mezzo and so full of spark was she on stage." She is becoming increasingly coveted for her portrayals of the dramatic mezzo repertoire.

The music of the English Virginalists (virginal is a smaller variety of harpsichord) dating back to the turn of the 16th and 17th centuries served as an inspiration for the French harpsichord style, which, after several years, returned to Great Britain. It was adopted in such a mature form by the most outstanding composer born in England. Henry Purcell, conscious of the music's sources, enriched it with subsequent references to native musical traditions and with his own original compositional technique. The extremely meticulous interpretations of eight harpsichord suites by Purcell, performed by Ewa Rzetecka-Niewiadomska, convincingly confirm the artistry and aesthetic value of these compositions, with plenty of charm and stylistic treats, which, due to extra-musical reasons, are on the margin of the mainstream of the history of music.

A large part of Feliks Nowowiejski’s work, especially his larger works, remained in manuscripts and soon after the composer’s death in 1946, he was forgotten. As if he’d faded into oblivion. This state of affairs lasted until the last few years, when part of the Polish music community began to notice severe gaps in knowledge about the work of the composer. The Opole Philharmonic Orchestra conducted by Przemyslaw Neumann has also played a big role in decoding Felix Nowowiejski’s music. The testimony of this is a smaller album that gathers the symphonic works of Rota’s creator, previously only rarely performed and almost absent in phonography. These are extremely interesting, selected symphonic works, composed with incredible impetus, full of melodic invention, pathetic culminations and deep romantic aesthetics.

The title "Zan Tontemiquico" is drawn from a poem by Tochihuitzin, a prince and poet who lived at the turn of the 14th and 15th centuries. The poem was written in N�huatl, which was spoken in the present Mexico before the arrival of Spaniards. In a free translation the title means "We only come to dream." This, closing the album, programme piece for orchestra, superbly performed by the Aukso ensemble directed by Marek Mos, is preceded by two compositions dedicated to the musicians of the Silesian Trio. The Titanic Trio is inspired by a whole range of cultural associations, not only musical, present in the legend of the Titanic, including the poetry of Czeslaw Milosz. The deprived of the programme references Trio Concertante, recorded together with Aukso, is calligraphically economical, yet at the same time emotionally rich music - consisting of strongly separated sound plans. The works present the main characteristics of the pieces by Mikolaj G�recki: musical erudition, allusiveness, atmosphere, and stylistic diversity.

It is the successful combination of the low, chest baritone and high, head soprano registers that has come to characteristically define the rare and unique contralto singing voice at it's finest. This register combination results in a natural, three octave scale. Another specific contralto feature is a natural agility that, with professional training, becomes an overwhelming coloratura. Ewa Podles, considered the most authentic contralto of her generation, features her distinctive, dramatic and agile voice on this new Dux release of well-known 18th-20th c. operatic excerpts.

Szymanowski: Songs

Wojciech Kilar created a sensation some years ago with his exciting dance-like orchestral piece "Krzesany" and other works including the film score for Francis Ford Coppola’s "Bram Stoker’s Dracula". His scores often express through rhythmic repetition, a minimalism that differs from the American minimalists possibly because of the reminiscences of European music of the past. The piano concerto contains strong hints of the romantics, particularly Beethoven and Brahms viewed through a prism of cubist sectional abstractions. The mood ranges from bold to serene much like a romantic piano concerto but without the direct stylistic trappings. Melodic turns of phrase and gestures of Polish folk music also play role in his works and Kilar sometimes psychologically shocks his audience not only with a dramatic use of dissonance but also by suddenly embracing major/minor tonality and triadic harmonies. - Greg La Traille, ArkivMusic.com

FRITZ KREISLER

GRAZYNA BACEWICZ: Bartlomiej Kominek, piano; Radom Chamber Orchestra/Maciej Zoltowski. GRAZYNA BACEWICZ - MUSIC FOR CHAMBER ORCHESTRA: Divertimento forstring orchestra (1965); Piano Quintet No. 1 (trans. for piano and string orchestra)(1952); Concerto for string orchestra (1948).

MUSIC FOR PRINCE NIKOLAUS I ES

Chopin: Piano Recital

V 2: POLISH HARPSICHORD MUSIC

Mozart: Violin Concertos Nos. 4 & 5

PODLES AND OHLSSON LIVE

Tabulatura Gdanska

Penderecki: Te Deum - Lacrimosa