REQUIEM Hansjörg Fink, trombone | Elmar Lehnen, organ
Complete String Quartets by Dmitri Shostakovich in 5.1 surround
Robert Schumann: Cello Concerto, Op. 129
Clara Haskil plays Mozart: Piano Concerto K. 466
Edition Karl Ristenpart
The RIAS Second Viennese School Project
Quartetto di Cremona: Beethoven Complete String Quartets
Music from the four galleries of the Abbey Church of Muri
Mandelring Quartett: Mendelssohn Complete Chamber Music for Strings
FORTUNA SCHERZOSA Ina Siedlaczek |Hamburger Ratsmusik
The RIAS Amadeus Quartet Recordings - Beethoven
Géza Anda Edition
Louis Vierne: Complete Organ Symphonies
Mahler cycle with Rafael Kubelik in live recordings
Swiss Piano Trio
Edition Ferenc Fricsay
Portrait Bronislaw Gimpel
Edition Wilhelm Furtwängler - conducting the Berlin Philharmonic on 14 LPs
LUCERNE FESTIVAL Historic Performances
Edition Otto Klemperer - RIAS recordings from Berlin, 1950 - 1958
Hideyo Harada | Schubert
Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy
Julius Katchen plays Liszt, Brahms, Beethoven, Schumann and Chopin
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.
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.
Music for two Organs
The role of the organ at the Viennese Habsburg Court is illuminated in this recording with a richly varied selection of original keyboard compositions and arrangements. Through the interplay of the two historic Bossart organs of the Abbey of Muri – founded by the forefathers of the Habsburgs – and through the connection between the organ and Gregorian chant, an intriguing musical period is brought to life.
Pas de deux
Elegant and style-conscious, the sisters Mona and Rica Bard undertake a pas de deux, at one and at two pianos, through eighty years of French piano music. Their programme includes Bizet‘s masterly miniatures, Ravel‘s refined, temperamental portraits of Spain, Milhaud's comedy about a character of the Commedia dell’Arte and the stylistic versatility of Francis Poulenc, who was both able to flirt with the entertainment music of his time and also, around 1950, to compose a substantial commentary on classicism and modernism beyond the main currents with his Sonata for Two Pianos.
The RIAS Second Viennese School Project
These recordings of central works of the Viennese School, made between 1949 and 1965, are unique musical and historic documents. The first-rate interpreters predominantly come from the immediate circle around the composers, either as pupils of Schoenberg’s or as acquaintances of the composers. With this degree of authenticity and thanks to manifold interpretational approaches, this anthology offers comprehensive first-hand insights into the Second Viennese School.
Portrait Bronislaw Gimpel
Bronislaw Gimpel was one of the “old school” virtuosos. His distinctly individual approach towards sound and phrasing left a strong mark in the history of violin playing. This edition presents on three CDs the complete recordings made by Gimpel for the RIAS Berlin during the 1950s.
The Raven Nevermore
“As artists we are chroniclers of the emotions of a particular time, and if we are lucky, our chronicles radiate a little, illuminating the path” (Moritz Eggert). This recording with the Stuttgart Kammerorchester shows how diverse these paths and emotions can be. The spectrum ranges from pieces such as “Der Rabe Nimmermehr Ouvertüre” to “Tetragrammaton”, specially composed for the ensemble, as well as “Ich bin der Welt abhanden gekommen”, a homage to Mahler and the almost extinct tradition of the orchestral chanson which was written with, and for, Inga Humpe.
César Franck: Complete Organ Works
After the successful release of César Franck's complete organ works on 3 double SACDs audite now presents these recordings in a 6 CD boxed set. This complete edition naturally includes the 12 major well-known works of this composer. In addition to these, it contains many smaller treasures of the...
This collection of duos for oboe (specifically English horn) and piano from the years 1935-1941 are haunting documents of the musical paths of Britten, Hindemith, Haas and Skalkottas through a gloomy time period.
Ludwig van Beethoven: Symphony No. 9
Tenor legend Fritz Wunderlich sings the solo part in Beethoven’s Ninth Symphony on Schiller’s “Ode to joy” – a unique document from 1962.
With two-, three- and four-choir works by Giovanni Gabrieli and Heinrich Schütz, the Cappella Murensis and the ensemble Les Cornets Noirs make perfect use of the four galleries in the Abbey Church of Muri: voices and instruments blend with the historic Bossart organs to produce a unique sound.
Felix Mendelssohn Bartholdy: String Quartets in E flat major (Op. 12), in A minor (Op. 13) & in E flat major (1823)
The Mandelring Quartett begin their new recording series, Mendelssohn – The Complete Chamber Music for Strings, with the youthful work of the 14-year-old set alongside the early master works, Op. 12 and Op. 13: two tributes to the recently deceased Ludwig van Beethoven, and both looking far ahead into the future.
Eduard Franck: Orchestral Works
This première recording of three orchestral works and one concert piece by Eduard Franck, written during the 1840s, continues the revival of this unjustly neglected composer.
Peter Ilyich Tchaikovsky: Piano Trio, Op. 50
In the history not only of the piano trio but also of Russian chamber music in general, Tchaikovsky’s Piano Trio Op. 50 forms a monumental milestone in two movements. This masterpiece of 1882 is dedicated to the memory of his friend Nikolai Rubinstein, the founder of the Moscow Conservatory.
In this SACD William Thomas Best (1826-1897), with his arrangements of selected organ works and the Chaconne for Solo Violin by Bach, makes his appearance as a dramatic director: his stage directions in matters of choice of tempo, articulation, registration, selection of manuals and, where appropriate, the use of the swell pedal, enable the great free-standing organ works to appear as dramatic scenas or ballads, while the smaller-scale works and chorale preludes come across as poetry. Carsten Wiebusch dramatises Bach on the new Klais organ in the Christuskirche, Karlsruhe, in a way that is both poetic and powerful.