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ORFF, Tschechische Philharmonie Prag, Vaclav Smetacek
Carmina Burana
BACH, Jean Guillou
Toccatas et Fugues (BWV 538, 540, 564 & 565)
ELLINGTON, SCHUMANN, VIVALDI, Arne Domnerus, Gustaf Sjokvist
Antiphone Blues
Arne Domnerus, Bengt Hallberg, Lars Erstrand
Jazz At The Pawnshop
Legendarne brzmienie DORIAN
Winylowy niezbędnik
ClearAudio
Double Matrix Professional - Sonic
Klasyczne evergreeny
BEETHOVEN, Valdimir Horowitz
Piano Sonata No. 23 in F Minor, Op. 57 APPASSIONATA // Piano Sonata No. 7 in D, Op. 10, No. 3
TCHAIKOVSKY, RACHMANINOV, Arthur Rubinstein, Daniel Barenboim
Piano Concerto No. 1 in B-Flat Minor, Op. 23 // Piano Concerto No 2 in C Minor, Op. 18
TELEMANN, Jorg-Michael Schwarz, Rebel – Telemann alla polacca, Concerti and Suites
| Wykonawcy / kompozytorzy | |
|---|---|
| TELEMANN (composer) | |
| Rebel (orchestra) | |
| Jorg-Michael Schwarz (violin) | |
- Rebel - orchestra
- Jorg-Michael Schwarz - violin
- TELEMANN
NAGRANIE REFERENCYJNE - 20bit - FIBER OPTIC DISK
It is hardly surprising that a composer as prolific and multifaceted as Telemann should have gone beyond the French and Italian styles to explore other national idioms. In keeping with the prevailing taste for things French and Italian, Telemann used those languages to variously label some of his forays into Polish style. He interchangeably designated movements with the French polonoise (modern: polonaise) or the Italian polacca to call attention to his use of Polish style elements. The distinctive rhythms of the dance, best known today in the Polonaises of Chopin, were exploited by Telemann, like Bach, for their noble character. For Telemann the terms polonoise and polacca did not exclusively designate this dance, but rather they broadly signalled the use of Polish idioms. - John Moran
