Гайдн Йозеф

Symphonien Nr. 61, 66, 69; Toy Symphony H2: 47

Streichquartette H3 Nr. 19-49, 57-83 (op. 9, 17, 20, 33, 42, 50, 54, 55, 64, 71, 74, 76, 77, 103)

Anton Zimmermann: Concerto D-Dur für Kontrabass, 2 Hörner, 2 Violinen, Viola, Bc +Johannes Sperger: Sonate h-moll für Kontrabass & Cello "Anno 1790" +Andreas Lidl / Franz Xaver Hammer: Sonate F-Dur für Kontrabass & Bc +Karl Kohaut: Concerto D-Dur für Kontrabass, 2 Hörner, 2 Violinen, Bc +Joseph Haydn: Baryton-Trio F-Dur H. XI: 121 für Kontrabass, Viola, Bc

Klaviertrios H15 Nr. 15, 32, 38, 39, 40; Klaviertrio D-Dur H deest

Klaviertrios H15 Nr. 1, 2, 6; Klaviertrios H15: C1 & H15: f1

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Упаковка: Jewel Битpeйт: 320 kbps Bpeмя: 260

Упаковка: Jewel Битpeйт: 256 kbps Bpeмя: 356

The legendary Vienna Mozart Ensemble which came into being in the early years after World War II will forever be associated with the name of the Austrian conductor Josef Krips (1902–1974). Born in Vienna, he had studied music there under Felix Weingartner, was principal violinist in the Volksoper orchestra, then Weingartner's assistant. He took posts as concert master in Aussig (now Ústí nad Labem in the Czech Republic), then Dortmund and Karlsruhe, where he was appointed General Music Director in 1926 before returning to Vienna, where in 1933 he was given the post of conductor at the Vienna State Opera. He left the country of his birth again in 1938 after the Anschluss, but in Belgrade he was prohibited from working after intervention by the Nazis. At the end of the war, Krips returned to Vienna and immediately became actively involved in the reconstruction of cultural life in the city on the Danube. His artistic and organisational skills were in demand in post-war Austria when it came to re-establishing the Salzburg Festival.

To mark the 90th birthday of the eminent conductor Bernard Haitink, this representative portrait – a box set containing a total of eleven CDs – is being released by BR-KLASSIK.

Artist: Haydn / Kranefoed Label: Profil - G Haenssler

The six quartets of Opus 50 by Joseph Haydn are among the most important works in the string quartet genre – that chamber music formation so highly valued since the era of the First Viennese School, allowing only masters of the composer’s art to express themselves. Haydn’s so-called “Prussian Quartets” (Hob. III:44-49) of 1787 were dedicated to the Prussian King Friedrich Wilhelm II, an enthusiastic amateur cellist. Here, he developed the classical style of music-making, which he had shaped so decisively himself, even further. Starting with a rather simple theme, the motifs are artfully wrought – especially in the opening movement of the quartets – and it is notable that all four instrument are treated as near-equals. The six masterworks of the Austrian composer were captured by the Amati Quartet in studio recordings made in 1995 and 1997, winning the French record award “Choc du monde de la musique” at the time – now they have been assembled and released together by DIVOX on a double CD. The interpretation by the renowned Amati Quartet is undoubtedly a reference recording of these sophisticated and mellifluous, yet humorous and by no means academic string quartets.

Haydn, Mozart, Schubert: it was with some of the Viennese founding fathers of the string quartet that the Akilone Quartet wished to inaugurate its discography. “We embraced this adventure with the desire to be able to give, via the sole vector of listening, a musical experience as intense and complete as that of the concert.”

Artist: Haydn / Capella Savaria Label: Hungaroton

André Navarra (1911–1988), together with Pierre Fournier and Maurice Gendron, was acknowledged as one of the “three great” French cellists who left their mark on the European concert life of their era. He was born in Biarritz, won first prizes at the age of 13 and 16, and gained early practical experience in chamber-music ensembles before celebrating his solo debut in 1931 with the Concerts Colonne. After a stupendous competition win in 1937 in Vienna he began an international career that was to last for more than three decades. In parallel, Navarra began teaching: starting in 1949 (until 1979) he was professor at the Paris Conservatoire; from 1953 he also taught at the Accademia in Siena and at the Vienna College of Music, and from 1958 to 1986 he was a member of the illustrious teaching team at the Nordwestdeutsche Musikakademie in Detmold, where his colleague on violin Tibor Varga taught. He can be heard playing with Varga on this 10-CD collection as well as on numerous studio and live recordings made at various times along the way of his remarkable career. (transl. JMBerridge)

The well-known Concert de la Loge, the period instruments orchestra led by the violinist Julien Chauvin, return with the third episode of Haydn’s journey in Paris. His complete Parisian Symphonies recording continues this Autumn with the number 82 nicknamed ‘The Bear’. It is coupled with the Symphonie concertante for bassoon, horn, flute and oboe of one of his contemporaries, François Devienne. This colourful third volume draws a witty and virtuoso panorama of French 18th century music.

The box comprises all (live) recordings made by Martha Argerich at the Lugano Festival, from 2002 to the last edition in 2016, and released by EMI Classics and Warner Classics. An impressive collection of 22CDs without equivalent. It includes a variety of genres: some solo piano music, lots of music for piano duo and among them many arrangements, chamber works and concertos.

2 × Vinyl, LP, Limited Edition, Numbered

2 x CD, Album

One of the very few recordings opera star Cecilia Bartoli made for Warner Classics’ former labels Teldec & Erato, apart from three Mozart operas (Cosi fan tutte and Le nozze di Figaro with Daniel Barenboim and the rare Lucio Silla with Harnoncourt). The terrific cast also features the great tenor Christoph Prégardien and famous French soprano Patricia Petibon. The Austrian conductor Nikolaus Harnoncourt was both a specialist of Classical era and a master of opera performances. In the early 1950s, Harnoncourt founded Concentus Musicus Wien, the first professional orchestra in Europe to play on period instruments and dedicated to music of the pre-Romantic era. As Sir Nicholas Kenyon wrote in Gramophone after Harnoncourt’s death: “He wanted to explore why composers made their music sound as it did, to understand what their intentions were, to react to the instruments they used and to their sonorities, and to see how they could best be created anew in our time. He did not believe in ‘authenticity’ as such, and never used the word. Instead he questioned ‘tradition’ as laziness [as] Mahler had before him."