Krzysztof Lason is a violinist, teacher, and improviser who studied in Katowice, Warsaw, and Graz. He is a prize-winner of the competiitons in Cracow and Val Tidone, a scholar of the Ministry of Culture and the Dutch foundation Iris. He has performed in over 25 European countries, the USA, Canada, Japan, China, India, and Nepal, and he has recorded for Decca, BBC3, WDR3, the Polish Radio, DUX, and CD Accord. He has been nominated for the International Classical Music Awards and the Polish music award “Fryderyki.” He is fascinated with sound possibilities of the violin and he willingly performs contemporary music, which is often written specially for him. He has performed Dharma at Big Sur by John Adams on a six-string violin as the first Pole in the history together with the Orchestra of New Music. He has premiered a number of new compositions. He is passionate about balancing on the verge of music styles; he feels at ease in chamber ensembles. However, above all, he appreciates the freedom of expression, which he achieves by improvised music.

Jan Milosz Zarzycki has conducted the majority of Polish philharmonic orchestras. He has performed in Germany, France, Austria, the Netherlands, the Czech Republic, Russia, Italy, Ukraine, Macedonia, the USA, Portugal, Mexico, Norway, Belgium, Lithuania, and Belarus. He has recorded fifteen albums, three of them were nominated for the Fryderyk Music Award. In 2008, the Minister of Culture and National Heritage honored him with a Special Prize acknowledging his invaluable merits for Polish musical culture; in 2001, he received a diploma for outstanding achievements for the heritage of Fryderyk Chopin; in 2013 he was honored with the Gloria Artis Medal for Merits to Culture. He also received an Award of the Marshal of Podlaise Voivodeship for his achievements in the field of artistic creation, promotion, and protection of culture. The Witold Lutoslawski Chamber Philharmonic in Lomza was established in 1977 as the Lomza Chamber Orchestra. In less than 40 years of its existence, it has given more than 1200 concerts in Poland and abroad. It has also received a number of awards for its activity and contribution to the development of the musical culture.

Paul Hendrich's sound system is a coherent whole in which individual parameters of a musical work (such as harmony or rhythm) are ordered by analogous processes. Each composition expanded the boundaries of the system and created its next layers. The uppermost layer could not exist in this structure without all the lower levels. In this sense, every other piece of Paul Hendrich is a metaform, because it uses the musical language developed in earlier compositions. At first glance, Paul Hendrich's thick scores seem complicated. However, they are composed of simple processes. This simplicity would appear to us if we could look at this work as a multidimensional space, which we can trace each parameter separately. Performed by Ensemble Musikfabrik, this release brilliantly displays the composer's genius.

This intriguing album features works by 20th century composers Krzysztof Penderecki and Eugeniusz Rudnik. Included in this album is Rudnik’s Homo Ludens- a radio ballet not without autobiographical elements (1984). Recorded in the Polish Radio Experimental Studio, many of these works by Penderecki originated in the same studio with Penderecki’s friend and founder of the studio, Jozef Patkowski.

This programme presents songs by Szymanowski covering the half-decade between 1900 and 1905. They are youthful works, then, which point to the composer's future characteristics without quite presenting a fully developed voice. Influences are many and varied - though more from France and Russia, significantly, than Germany. The Op 2 set offers plenty of echoes of Tchaikovskian wistfulness to match poetry of regulation late-Romantic pessimism and sensuality. The larger-scale Three Fragments, Op 5, are more broadly thoughtful, setting words of quiet obsessiveness to music that mixes religiosity with pent-up emotion. Szymanowski's 'Swan' is a fateful harbinger of suffering; and nature is similarly a source of angst and fear in the Op 11 songs, where the maudlin first two numbers ('Joyless am I' and 'In the enchanted forests') are saved by the urgent final two, 'Flying over me into the sapphire sea' and 'Roar, storm!'.

Marcin Dutka is a painter, pianist, and composer who was born and resides in Warsaw. It could seem that the prepared piano has already had its heyday. However, this instrument still intrigues contemporary composers and, above all, improvisers. An example of this is Whale’s Teeth- a cycle of eight pieces performed ad libitum by Marcin Dutka. Already the first piece might confuse the listener. Are we really dealing with piano? The color of these unusually extracted from the interior of the piano sounds bears a feature of the color of extended flute performing techniques. It is difficult to escape an association- especially considering the fact that the very title of the album encourages to it- with the ocean’s audiosphere. Dutka looked deeply into the instrument’s interior and extracted from it the sounds which are close to those that are hidden in the depths of the abyss of water; hence he listens to the whales’ songs, their calls and dialogues. He writes of this piece: “I prepare the piano by throwing into it various objects which were given to the humanity by nature and technique. Apart from the orchestral sounds, I conjure up both combustion engine and rolling stock music and the whales’ mating song or wind noise from the sea.”

Nicholas Copernicus once wrote: “What can be more beautiful than the sky, which of course contains everything beautiful.” At the inauguration of the 72nd artistic season of the Symphony Orchestra of the Silesian Philharmonic, Henryk Mikolaj Gorecki presented one of the most important works of his Patron- the monumental 2nd Symphony- Copernicus, composed for New York’s Kosciuszko Foundation, to commemorate the 500th anniversary of the birth of Nicolaus Copernicus. In the symphony, which is characteristic of Gorecki’s works, the non-literal literary theme of biblical quotations and the Treaty of the rotation of celestial spheres is of great importance. The words in the Symphony No. 2 were not only significant as inspiration or a starting point, but they became what was directly addressed to the listener. He does not have to read them on the show or in the score, but he directly and explicitly hears them.

This new release takes the listener on an aural journey to Argentina at the turn of the century, where one of the most fascinating cultures was born in Buenos Aires. The diverse and uplifting Argentinian tango fills both the dancer and the listener with emotion and passion. The three musicians were connected by a love of tango, which bore this artistic project. Harpist Aneta Salwinska and accordionist Konrad Salwinski accompany vocalist Oscar Ernesto Ovejero in these delightful pieces.

Polish composer Fryderyk Chopin was a genius who created mainly piano music. All of his creative output is characterized by beautiful lyricism. This new release features Chopin’s piano works transcribed for cello and piano. This project is funded by The Cultural Education Foundation, founded by Roza Paderewska in 2010. The aim of the foundation is cultural animation carried out by varied educational and artistic activities. They also strive to promote Polish culture. This release of transcriptions, performed by outstanding artists Tomasz Strahl and Janusz Olejniczak is the next project which fits into the programme of the Foundation. Tomasz Strahl graduated from the Fryderyk Chopin Academy of Music in Warsaw, cello class of Professor Kazimierz Michalik and completed a postgraduate course at Hochschule fur Musik and darstellende Kunst in Vienna under Professor Tobias Kuhne. Janusz Olejniczak is one of the most outstanding contemporary Chopin interpreters. Born in Wroclaw, he was the youngest prize-winner of the 8th International Fryderyk Chopin Piano Competition and also won a prize in the Alfredo Casella International Competition in Naples.

The present release is a Chopin recital from renowned pianist Maria Korecka Soszkowska. Maria studied under well-known teachers such as Prof. Henryk Sztompka in Poland and Prof. Dieter Weber in Austria. She has won domestic and international competitions and festivals, among which include the National Competition of Mozart's Music in Katowice, IJ. Paderewski National Piano Competition in Bydgoszcz, and others. She began her concert activities in 1962 and from then on she has performed with many philharmonic orchestras in Poland and abroad. Maria has participated in numerous festivals such as Brno, Marianska Lazne, Czech Republic, Ghent, Belgium, and more.

Marek Szlezer is an artist valued both in Poland and abroad, awarded many times at renowned international and national competitions, performing in many prestigious concert halls around the world. Recording early pieces by Karol Szymanowski, presented on the present album, has been his dream for many years. He saw in these works more than just the "youthful style" of the composer, which was belittled by many. Each of these pieces is a finite work for the pianist, the fulfillment of a certain idea, an emanation of an unusual personality and sensitivity of their creator. The unique beauty of this music is amazing, the power of youthful expression, sophistication of the means, the ability to diversify tension and create a thrilling expressive climate knock one down. Mark Szlezer is a graduate of the "Ecole Normale de Musique A. Cortot" in Paris, and the Academy of Music in Krakow. He is an active performer of modern music, and has premiered numerous modern compositions written especially for him.

Following the Piazzolla "Tangos" and Guastavino "Tres Romances Argentinos" recorded in 2015, for the first time in Polish history, DUX is releasing all of Mozart's Six Sonatas ever written for piano four hands. This album is a wonderful experience, a true katharsis of the body and soul. The msuic never grows tiresome and its performance provides unrivaled joy, satisfaction and sense of fulfilment. Although the nuances and details can be perfected without end, it is the simplicity of performance and beauty of sound that truly matter.As Mozart wrote the pieces throughout the course of his life, they are very differentiated in sound and meaning: beginning with the exceptionally humorous onata seen through the eyes of a nine-year-old boy - the Sonata in C Major, KV 19d, all the way up to the C Major, KV 521, composed towards the end of his life.This album is meant to be lively and the artists want the listeners to return to the sonatas hungry for more, rather than overwhelmed.

The artistic concept of the new album by French pianist Blandine Waldmann is based on a specific dialogue between tradition and modernity. The dialogue is conducted in the space that spans between the programme music of the famous Pictures from the Exhibition by Modest Mussorgsky, a classic form of Brahmsian variations and miniatures, and the absolute music of the Piano Sonata No. 9 by Scriabin whose thickened chromatic language is boldly heading towards the limits of tonality. Blandine Waldmann, a graduate of the Belgian Koninklijk Conservatorium Brussel, is a laureate of numerous international awards, a participant of many master classes, and for the entirety of her career has been performing in the world's most famous concert halls, enchanting the listeners with excellent technique and great emotional, plenty of colors, and conscious musicality.

The great Cervantes, he taught me the magic and great humanity that poetry and the music of our Golden Century harbor. In the middle of the 16th century appears in Spain the ''cross-strung harp'', as Juan de Bermudo confirms in his work, Declaration of Musical Instruments, year 1555. This appearance is due to the growing music chromatization and the progressive emancipation of the specific instrumental language. Therefore, the harp, diatonic so far, becomes a chromatic instrument in a very original way: adding an order of chromatic strings interwoven or intertwined with the diatonic ones. It turned out to be an extremely practical invention for the spanish Violeros and, apparently, not sued out of the Iberian Peninsula. The famous Tomos, witness the harp's musical intervention in these two fields, sacred and profane. One of the most prolific composers of the Tonos was Juan Hidalgo, a Royal Chapel's musician, Pedro Calderon de la Barca's right hand and, in turn, prominent harp player.

The year 2017 is the 800th anniversary of the city of Krakow. This creates an excellent and unique opportunity for a new generation to enjoy themselves and take price in the place where they live. This release celebrates Krakow composers and musicians alike. Performing works by Jozef Elsner and Emauel Kania are Ewa Andrusziewicz, Dariusz Wolczyk, Miroslaw Makowski and Rafal A. Luszczewski.