Quartetto di Cremona: Beethoven Complete String Quartets
Complete String Quartets by Dmitri Shostakovich in 5.1 surround
FORTUNA SCHERZOSA Ina Siedlaczek |Hamburger Ratsmusik
Edition Ferenc Fricsay
Edition Karl Ristenpart
Clara Haskil plays Mozart: Piano Concerto K. 466
Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy
LUCERNE FESTIVAL Historic Performances
Louis Vierne: Complete Organ Symphonies
Edition Wilhelm Furtwängler - conducting the Berlin Philharmonic on 14 LPs
Swiss Piano Trio
Music from the four galleries of the Abbey Church of Muri
REQUIEM Hansjörg Fink, trombone | Elmar Lehnen, organ
The RIAS Amadeus Quartet Recordings - Beethoven
Portrait Bronislaw Gimpel
Hideyo Harada | Schubert
Edition Otto Klemperer - RIAS recordings from Berlin, 1950 - 1958
Julius Katchen plays Liszt, Brahms, Beethoven, Schumann and Chopin
Mandelring Quartett: Mendelssohn Complete Chamber Music for Strings
Mahler cycle with Rafael Kubelik in live recordings
Robert Schumann: Cello Concerto, Op. 129
Géza Anda Edition
E. Grieg: Complete Symphonic Works, Vol. IV
Edvard Grieg’s most popular work in combination with his least known piece: whilst the Piano Concerto in A minor was the 25-year-old composer’s breakthrough to international fame, he had decided to withdraw his symphony, written only a few years previously. Yet every page of the score – despite overt influences of Schumann, Gade and Mendelssohn – convinces, thanks to Grieg’s youthful inspiration and superb invention.
Piano Trios by Rachmaninov (Trio élégiaque, No. 1) & Tchaikovsky (Op. 50)
With their new CD, the Trio Testore sheds light on a special side of Russian chamber music: Tchaikovsky’s and Rachmaninov’s works for piano trio are conceived as dedications and memorials. This fact determines their individual form and their personal, passionate tone. They are thus exemplary for a tradition that made its effect well into the 20th century.
This cross-section of North American piano music from 1850 to 1980 immerses the listener in a fascinating musical cosmos that is especially notable for its stylistic variety. In its search for an identity, this variety has been characteristic of American music from its beginnings – a unique situation resulting in permanent cultural exchange.
R. Schumann: Complete Symphonic Works, Vol. II
These are Schumann‘s Symphonies in the orchestral size that was available to the composer himself for the performances in Leipzig and Düsseldorf. There were fewer strings in the orchestra than is usually the case today. Through this, the sound gains added plasticity and differentiation in the instrumental colours. It thus becomes understandable why contemporaries especially emphasised the skilful and convincing orchestration of these two great cyclic works, chronologically the last two of Schumann‘s symphonies.
The RIAS Amadeus Quartet Mozart Recordings
The string quartets of its eponym Mozart were, from the very beginning, a matter of the heart for the Amadeus Quartet. The previously unreleased recordings presented here from the archives of Deutschlandradio were made during the quartet’s first decade. They show the ensemble at a very high technical and musical level even at that early stage of its career. This edition is complemented by the four great string quintets with Cecil Aronowitz and the clarinet quintet with Heinrich Geuser.
Cras - Reger - Dohnányi - Kodály
These four string trios, written during the first third of the last century, reveal the breadth of possibilities of this genre, comprising an elegant game with tradition (Dohnányi), the ideal of a systematic formation of impulsive music (Reger), and a pièce de résistance in virtuosity and colour by Ravel’s contemporary Jean Cras.
Pilar Lorengar: A portrait in live and studio recordings from 1959-1962
Light, brilliance, intimacy and infallible purity of tone are united in the voice of the Spanish soprano Pilar Lorengar – qualities that predestined her for youthfully lyrical and dramatic soprano roles, especially in the German, Italian and French repertoires. In studio and live recordings from 1959 to 1962 alongside standards, she pays homage here to the musical traditions of her homeland.
Rafael Kubelik conducts Bartók: Bluebeard’s Castle
The exiled Czech conductor Rafael Kubelík made Lucerne his second home and, for nearly five decades, was one of the leading figures of the festival. Alongside Irmgard Seefried and Dietrich Fischer-Dieskau he performed Béla Bartók’s only opera, Bluebeard’s Castle, in 1962, revealing with an infallible sense for Bartók’s orchestral riches the emotional abysses of this musical psychological thriller.
Ludwig van Beethoven: Complete String Quartets - Vol. 3
In the Quartetto di Cremona’s third volume of the Complete Beethoven String Quartets, enthusiastically received by press and audience, the ensemble undertakes a bold triple jump through Beethoven’s different stages of musical development. Presented here are the C minor work from the first, ingenious set of quartets Op. 18, the first of the highly virtuosic “Razumovsky” Quartets Op. 59, as well as the “Great Fugue”, Op. 133, a pinnacle of musical artistry.
Louis Vierne: Organ Symphonies op. 47 & op. 59
The present recording completes audite‘s three-part complete recording of Louis Vierne’s six Organ Symphonies that captivate the listener with their colouring and ever-growing mysticism. The sound of the renowned Goll Organ combines poetic lyricism with symphonic fullness and power. The ideal acoustics make it possible to clarify the polyphonic structures. The fresh tempi of the interpreter bring out concise rhythms that are capable of enthralling the listener in extraordinary ways.
Felix Mendelssohn Bartholdy: String Quintets in A major (Op. 18 No. 1) & in B flat major (Op. 87 No. 2) & Four Pieces for String Quartet (Op. 81)
audite’s fourth volume of Felix Mendelssohn’s complete chamber music for strings sees the Mandelring Quartett championing a genre which has always been overshadowed by the noble string quartet: the quintet for two violins, two violas and cello. Twice Mendelssohn, first as a young genius and then later as an established musician, wrote for this combination – and twice he created magnificently sonorous, rousing masterworks.
An unusual journey into the spheres of improvisation and traditional requiem chants: Hansjörg Fink and Elmar Lehnen prove to be border crossers, demonstrating that contrasts can be tied together. Age-old tradition meets vibrant, jazzy joie de vivre; composed music meets improvisation; liturgy meets world; spirituality meets sensuality. Fink and Lehnen move assuredly on historic foundations, adding their own, liberal figures. Sombre moments of death appear here in a new, milder light.
Claudio Abbado conducts Schubert, Beethoven & Wagner
Claudio Abbado (1933-2014) was closely associated with LUCERNE FESTIVAL for nearly five decades. In memory of this exceptional conductor, two live recordings with the Vienna Philharmonic and the Chamber Orchestra of Europe, made in the summers of 1978 and 1988, are issued here for the first time, revealing all elements of his art: a rousing vitality and emotional immediacy, radiant orchestral splendour and structural transparency.
Julius Katchen plays Liszt, Brahms, Beethoven, Schumann and Chopin
Julius Katchen’s solo recordings of works by Beethoven, Brahms, Chopin, Schumann and Liszt’s B minor Sonata presented here were made for RIAS Berlin and expand his discography by as many as six first releases. Thanks to his natural combination of virtuosity, musicianship and sense of form, these recordings are documents of magnificently timeless piano-playing.
E. Franck: Piano Trios II
audite’s Eduard Franck series continues with three further chamber works of the composer. This recording of the Piano Trio in E major and the Piano Trios Op. 22 and Op. 53 now completes Franck’s contributions to the genre; both the Trio in E major and Op. 53 are première recordings. Written between 1835 and 1886, these three works span nearly the entire composing career of Eduard Franck and provide valuable insights into the vibrant chamber music culture of the nineteenth century.
“Fortuna scherzosa”, after Telemann’s eponymous cantata, provides the textual framework for the works recorded here: the subject matter is hope, yearning for fortune, fulfilment and non-fulfilment, happiness and suffering. With her pure, straight and flexible voice, Ina Siedlaczek expresses these diverse emotions with great authenticity. Her music-making is historically informed, free and relaxed. Ina Siedlaczek’s beautifully simple and natural interpretations are deeply moving, not least thanks to an audible match between her personal philosophy and the over-riding message of this SACD.
The RIAS Amadeus Quartet Schubert Recordings
Schubert’s works remained close to the heart of the Amadeus Quartet throughout its entire life. The quartet’s approach to his youthful works was reserved and timid, whilst the great quartets of his maturity were played passionately and dramatically; in the G major Quartet, the contrasts were given special emphasis.
Claude Debussy: La Cathédrale engloutie
Debussy changes music history with his compositions. In his Préludes of 1912, he looks far ahead and, against the background of actual images, writes in such an abstract and visionary manner that his works reveal their harmonic modernity in an abundance of colours. Played on the organ, Debussy’s works run seamlessly into the soundscapes of Olivier Messiaen. Such a colourful interpretation of his piano works on the organ corresponds to Debussy’s maxim “You only need to listen. Pleasure is the law”.
Vesperae in honorem Sancti Dominici
A choir of young Dominicans sings solemn vespers in Latin in honour of St Dominic, founder of the order. The Latin chants are in exciting dialogue with the organ improvisations by Thierry Mechler.
J. S. Bach: Christmas Oratorio
This complete recording of the “Christmas Oratorio” from 1950 presents the leading Bach singers of that time. Alongside the RIAS Chamber Choir and the RIAS Chamber Orchestra and under the direction of Karl Ristenpart, they created a recording which both embraces Bach interpretation of the time on a high level, and also heralds historically informed performance practice, particularly in Parts 4 and 5. After the war, Ristenpart championed a cultural ideal which turned away from the drive for monumentalism. In this, Bach served him as a catalyst for mental renewal and as a guide to turn away from the craze surrounding Wagner.
Felix Mendelssohn Bartholdy: String Quartet in E flat major (Op. 44 No. 3), Four Pieces for String Quartet (Op. 81) & Octet in E flat major (Op. 20)
In Volume 3 of its complete recording of Felix Mendelssohn’s Chamber Music for Strings, the Mandelring Quartett once again covers the youthful genius as well as the maturity of the composer, whose early death prevented a musical renewal. Alongside the final piece of the mature Quartet cycle Op. 44 and two posthumously published movements written in 1847, the year of his death, the Mandelring Quartett – sonorously reinforced by the Quartetto di Cremona – presents the Octet, Op. 20: one of the most exhilarating youthful works in musical history.
Ludwig van Beethoven: Complete String Quartets - Vol. 2
After the successful first disc in their series of the complete Beethoven String Quartets with three works from the composer’s most important periods, the Quartetto di Cremona now concentrates on two crucial developments in Beethoven’s œuvre: the invention of a quartet style whose eccentric and demanding character can only be mastered by first-rate musicians (Op. 59 No. 2); and the beginning of his late period (Op. 127) where Beethoven reaches the limits of contemporary musical language.
R. Schumann: Complete Symphonic Works, Vol. I
Heinz Holliger’s interpretations draw on a lifetime’s study of the music, thought, personality and fate of Robert Schumann. The cliché of Schumann being a weak orchestrator is disproved by the feathery lilt and subtly structured sound of Holliger’s recordings.
Sergiu Celibidache: The Berlin recordings
Unlike in the elegiac, lyrical interpretations of his mature period, Celibidache also reveals his youthful, boisterous side in these recordings. This edition contains numerous first releases and paints a comprehensive picture of the conductor at that time. But his later development also already becomes perceptible. Celibidache during his early years in Berlin – a sonic compendium of music history during the post-war era.
George Szell conducts Dvorák & Brahms
Rhythmic precision, structural overview, razor-sharp orchestral control: George Szell is seen as one of the great “orchestral disciplinarians” of the twentieth century, as a superior musical director and an uncompromising perfectionist. In Lucerne he conducted, in 1962 and 1969, two works central in his repertoire, Brahms’ First and Dvořák’s Eighth Symphonies. These thrillingly energetic interpretations are full of suspense and show Szell at the height of his art.
Louis Vierne: Organ Symphonies op. 28 & op. 32
The present recording continues audite‘s three-part complete recording of Louis Vierne’s six Organ Symphonies that captivate the listener with their colouring and ever-growing mysticism. The sound of the renowned Goll Organ combines poetic lyricism with symphonic fullness and power. The ideal acoustics make it possible to clarify the polyphonic structures. The fresh tempi of the interpreter bring out concise rhythms that are capable of enthralling the listener in extraordinary ways.
E. Grieg: Complete Symphonic Works Vol. III
As a conductor of great European orchestras, Edvard Grieg required a high-class collection of his own works, some of which he created by arranging piano works for orchestra. In Volume 3 of audite’s complete recording of Grieg’s orchestral works, Eivind Aadland conducts the WDR Sinfonieorchester in this selection of transcriptions whose richness and colours often surpass the originals.
Isaac Stern plays Tchaikovsky: Violin Concerto, Op. 35 and Bartók: Violin Concerto No. 2, Sz. 112
Live recordings with Isaac Stern are rarities. The concert recordings made in the summers of 1956 and 1958 at LUCERNE FESTIVAL are thus all the more valuable. Stern presents the Violin Concertos by Bartók and Tchaikovsky, proving himself to be a full-blooded musician ready to take risks: the results are highly expressive and rousing interpretations.
Clara Haskil plays Mozart: Piano Concerto K. 466 - Robert Casadesus plays Beethoven: Piano Concerto No. 5
Stirring live recordings by two piano legends: Joined by Otto Klemperer, the incomparable Clara Haskil gave an interpretation of Mozart’s dark Piano Concerto in D minor (K. 466) which was so compelling she herself deemed it “unforgettable”. And Robert Casadesus found a congenial partner in Dimitri Mitropoulos. Their radiant performance of Beethoven marks the Vienna Philharmonic’s first appearance in Lucerne.
The RIAS Amadeus Quartet Beethoven Recordings
Through the Amadeus Quartet’s regular visits to the Berlin RIAS studios over a period of 20 years, the archives there hold a representative cross-section of the quartet’s repertoire. Of particular interest is the (almost) complete cycle of Ludwig van Beethoven’s string quartets, recorded between 1950 and 1967. These recordings clearly document the development of the Amadeus Quartet’s interpretation of Beethoven’s music over a time-span of 17 years, as well as the evolution of the ensemble as a whole.
Robert Schumann: Cello Concerto, Op. 129 & Johannes Brahms: Piano Concerto, Op. 15
Two live documents of a great moment in Berlin’s post-war musical life: on 5 March 1963 the 18-year-old cellist Jacqueline du Pré and the 22-year-old pianist Bruno Leonardo Gelber made their solo concerto débuts. The poetry, energy and musical coherence of du Pré’s interpretation of the Schumann Cello Concerto rank alongside her later recording of the piece. Gelber managed to elicit from Brahms’ First Piano Concerto the full drama, forging a bridge not only across the long first movement, but across the entire work.
Poulenc - Hindemith - Dutilleux - Muczynski - Martin
In the twentieth century, the flute underwent a remarkable revival as a solo instrument. The sonatas by Henri Dutilleux and Francis Poulenc represent the impulse for this development, which originated in France. In his series of sonatas for every melody instrument, accompanied by piano, Paul Hindemith began with the flute. Frank Martin, the mediator between the German and French traditions, created a colourfully eloquent variant of the sonata form with his Ballad. The sonata written by the American composer Robert Muczynski became the most famous example of his classicist, brilliant style.
Johannes Brahms: The Complete Piano Trios
Trio Testore, as part of its recording of the complete Brahms Piano Trios, presents both versions of the Trio in B major, Op. 8: the original version and the revised version which was made thirty-five years later and which, to a large extent, amounts to a new composition. Whilst revising his first trio, Brahms also wrote another pair of new, contrasting trios. Together, these works provide an exemplary impression of Brahms’ development as a composer.
Ludwig van Beethoven: Complete String Quartets – Vol. 1
During the past ten years the Quartetto di Cremona has matured into a string quartet of international renown, combining the Italian culture of string playing with an awareness of historical performance practice. The first volume of their recording series of the Complete Beethoven String Quartets comprises three distinctive works from Beethoven’s early, middle and late periods.
Ernst Krenek: Works for Violin
Four works – four composing styles – four creative periods of Ernst Krenek – four trouvailles of classical modernism. The first Solo Sonata urges towards expressive breadth, the Triophantasie alludes to the music of Franz Schubert. The second Sonata for Violin and Piano, modern in idiom and classical in form, was written in exile. The second Solo Sonata presents a condensed, more objective counterpart of the first. Christoph Schickedanz convinces with outstanding technical brilliance, multifaceted colouration and exuberant music-making.
Johannes Brahms: The Complete Chamber Music for Clarinet
This recording of the complete chamber music works for clarinet by Johannes Brahms is presented with first rate interpreters: Laura Ruiz Ferreres, one of the most gifted clarinettists of her generation, and pianist Christoph Berner. Internationally renowned cellist Danjulo Ishizaka and the Mandelring Quartet complete the superb line-up of instrumentalists for this recording.
Carl Philipp Stamitz: Quartets for Clarinet
Carl Stamitz’s Clarinet Quartets Op. 8 and Op. 19 are remarkable documents of the development of the clarinet’s cantabile qualities, and the increasing significance of the instrument in the second half of the eighteenth century.
Robert & Clara Schumann: Piano Trios Op. 17, 88, 110
The Swiss Piano Trio follow their recent new recording of the first two piano trios by Robert Schumann with a new disc, comprising his Phantasiestücke Op. 88, the third Piano Trio Op. 110, alongside Clara Schumann’s only Piano Trio Op. 17 in G minor which has been unjustly overshadowed by her husband’s works.
Felix Mendelssohn Bartholdy: String Quartets in D major (Op. 44 No. 1), in E minor (Op. 44 No. 2) & in F minor (Op. 80)
As part of their complete recording of Felix Mendelssohn’s chamber music for strings, the Mandelring Quartett presents three quartets of completely different temperament and biographical context. The first two works from Op. 44 were tailored to the brilliant playing of Mendelssohn’s violinist friend Ferdinand David and contain the whole range of the composer’s musical colouring in chamber music. In contrast, his last quartet, Op. 80, composed in 1847, represents an unsettling document of his shock following the death of his sister Fanny.
Louis Vierne: Organ Symphonies op. 14 & op. 20
To commemorate the 75th anniversary of Louis Vierne‘s death, the present recording marks the beginning of audite‘s three-part complete recording of the composer‘s six Organ Symphonies with the organist Hans-Eberhard Roß. Recorded at the Goll organ of St. Martin in Memmingen, the recording is characterised by the warm, soft and widely mensurated sound of the organ. Its sound creates unobtrusive power and fullness, making a symphonic effect in the church interior of St. Martin and yet always remaining clear. The polyphonic structures of the works become distinct and the transparency of sound permits fresher tempi than usual – both of which cannot normally be taken for granted with recordings of Vierne.