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Haydn 2032, Vol. 1: La Passione

Giovanni Antonini

Classical - Released October 7, 2014 | Alpha Classics

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
Since the 2015-2016 season, Giovanni Antonini has been the "principal guest conductor" of the Basel Chamber Orchestra (Kammerorchester Basel, recreated in 1984 in the spirit of the first Basler Kammerorchester which was founded by the patron and Swiss conductor Paul Sacher). He is working with them on important discographic projects, such as the complete Beethoven symphonies (Sony Classical) which are proving to be a great success with the press; and the "Haydn 2032" project, which is set to comprise the complete hundred and seven symphonies by Joseph Haydn, to mark the latter’s 300th birthday. The first fruit of this vast complete collection, that is, this album, was created by Antonini's historic Italian ensemble and described as a work of "passion" (but how could it be otherwise with a personality as joyful and innovative as Haydn?). The record gets off to a flying start with the Symphony n° 39 in G minor, subtitled "Tempesta di mare" on a 1779 manuscript and which, curiously, no publisher has yet taken up. Although it does not break out of its formal framework, it is a work stirred by tempestuous winds which are scarcely calmed by an Andante that seems to arise out of nowhere. The Finale is all filled with Vivaldian cascades, painting a portrait of natural cataclysm, or of the agitation of a soul struggling with the first jolts of Romanticism. A childhood memory of Giovanni Antonini who had discovered Haydn through his Symphony No. 1, this final piece at the end of this first album was broadly influenced by the style of the Mannheim school which was then flourishing in Europe. The harmonic proximity of the Symphony n° 49 in F Minor "The Passion" to the ballet-pantomime Don Juan or the Feast of Stone which Gluck had composed a few years earlier led Giovanni Antonini to include Gluck in this first volume, a dream opportunity for the conductor to show how Haydn changed the fate of the symphony by introducing a dramatic touch tinged with irony. Antonini sees in the two composers the same turn of mind and a shared use of techniques, who nevertheless bring together very different aspects of life in their music. © François Hudry/Qobuz
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Symphonie n°2 - Kullervo, op.15 - Élégie, op.4 n°1

Helsinki Philharmonic Orchestra

Classical - Released January 29, 2013 | Ondine

Hi-Res Booklet Distinctions 4 étoiles Classica
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Schubert: String Quartet No. 15 - Haydn: String Quartet No. 26

Tetzlaff Quartet

Chamber Music - Released March 10, 2017 | Ondine

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Joseph Haydn & Michael Haydn: Overtures and Symphonies

Österreichisch-Ungarische Haydn-Philharmonie

Miscellaneous - Released August 25, 2023 | Musikproduktion Dabringhaus und Grimm (MDG)

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Haydn, W.F. Bach & C.P.E. Bach: Trios for Oboe, Bassoon & Piano

Sergio Azzolini

Classical - Released July 13, 2018 | Sony Classical - Sony Music

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Yes, yes, the three Trios n° 15, 16 and 17 of 1790 were originally written for flute, piano and cello, and not for the oboe, piano and bassoon; but we know well how in those days, works intended for great amateurs (Londoners, in this case) could easily be adapted for any number of other instruments, whether bass or melodic parts: and so why not this delicious, pastoral combination? As for the Trio by Wilhelm Friedemann Bach, its origin is even more unique. Written before 1740, it is written across a number of pages which carry counter-punctual efforts by Johann Sebastian and his son; Wilhelm Friedemann's writing includes a Sonata for Two Flutes and Harpsichord, which is transcribed here for oboe – the pianist's right hand taking on the role of the second flute. The bassoon follows the bass part. The rest of the album, all dedicated to the same son, and also to the better-known Carl Philipp Emanuel, also takes in works written for other arrangements but deftly redistributed here for the trio formed by oboist Maurice Bourgue, the pianist Kimiko Imani and bassoon player Sergio Azzolini – based on the transcription principle which was very much the norm in the 18th century. © SM/Qobuz
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Mozart: String Quartets - Dedicated to Haydn - K. 421, K. 428, K. 465

Engegård Quartet

Classical - Released February 15, 2019 | Lawo Classics

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Haydn : L'Impatiente

Julien Chauvin

Classical - Released October 4, 2019 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
The Haydn series continues with the Paris Symphony No. 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening to Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians – and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The record offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué, and to revive the success that they once knew. © Aparté
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Beethoven : Symphonie No. 7 - Haydn : Symphonie No. 104 "Londres" (Diapason n°596)

Wiener Philharmonic Orchestra

Symphonic Music - Released July 25, 2010 | Les Indispensables de Diapason

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Mozart: The 6 String Quartets Dedicated to Haydn

Quatuor Cambini-Paris

Chamber Music - Released January 26, 2015 | Ambroisie - naïve

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Joseph Haydn : Concertos pour violoncelle - W.A. Mozart : Symphonie No. 29 K.201

Tatjana Vassiljeva

Classical - Released September 23, 2013 | Mirare

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Joseph Haydn: Intégrale des Sonates pour Piano et violon

Marie-Claudine Papadopoulos

Classical - Released April 20, 2019 | Les Belles Ecouteuses

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Brahms : Symphonie No. 1 & Variations sur un thème de Haydn (Diapason n°585)

Orchestre De La NDR De Hambourg

Symphonic Music - Released September 28, 2009 | Les Indispensables de Diapason

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Rachmaninoff: The Piano Concertos & Paganini Rhapsody

Yuja Wang

Classical - Released September 1, 2023 | Deutsche Grammophon (DG)

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It’s almost as if Yuja Wang were playing at home in her second collaboration with the Los Angeles Philharmonic and the conductor Gustavo Dudamel. The music of Rachmaninov has no secrets left for the Chinese piano virtuoso, who strolls happily along these formidably difficult concertos. It’s the “Piano Concerto No. 2 in C Minor, Op. 18”, the most iconic, that leads. Composed in 1901, at the time when Rachmaninov was just beginning to recover from the depression caused by the failure of his first symphony, this concerto became one of the centrepieces of the Russian composer’s work, when it was notoriously sampled in the legendary pop hit “All by myself”. Yuja Wang moves with alarming ease along a score rife with traps, starting with the tenth intervals that are every pianist’s worst nightmare. Wang offers a sublime variety in her playing, marvellously befitting of the very distinct moods of the three movements: raging and bold attacks in the “moderato”, languid legatos in the “adagio sostenuto”, and finishing with a triumphant and luminous “allegro scherzando”. “Concertos No. 1” and “No.4” are served with the same mastery, and the album closes with a “Rhapsody on a Theme of Paganini” where the orchestra proves to be of tremendous precision. An impeccable record. © Pierre Lamy/Qobuz
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Haydn 2032, Vol. 14: L'impériale

Giovanni Antonini

Classical - Released September 1, 2023 | Alpha Classics

Hi-Res Booklet Distinctions Diapason d'or
The Haydn 2032 project of conductor Giovanni Antonini is an ambitious undertaking, with plans to record all of the composer's symphonies by 2032. They are divided by theme rather than being plowed through chronologically, usually with relevant works by other composers added on. Here, the "extra" composer is Haydn himself, who revised a puppet-show overture into an alternate finale for one of the present symphonies. The Symphony No. 53 in D major, Hob. 1/53, was given the nickname "L'Impériale" ("The Imperial") by someone other than Haydn, but it is accurate enough for the imposing, timpani-backed opening. In fact, all three of the works here make unusual use of the brass, and they are well suited to Antonini's high-powered, large-orchestra approach. That approach is all to the good; there is no reason to think Haydn wouldn't have wanted as large an orchestra as he could get. It may diminish some of the humor in the slow movements, but it is not that Antonini is incapable of humor; sample the finale of the Symphony No. 33 in C major, Hob. 1/33, which here is about as riotously deceptive as it has ever been. The works are recorded with all repeats, but they never grow tiring. A strong entry in Antonini's ambitious series, this made classical best-seller lists in the late summer of 2023.© James Manheim /TiVo
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Karol Szymanowski: Piano Works

Krystian Zimerman

Classical - Released September 30, 2022 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
Recordings by Polish pianist Krystian Zimerman are a rare event, and eagerly awaited by his many fans. They surely won’t be disappointed with this new opus that brings together Szymanowski, Zimerman and legendary pianist Arthur Rubinstein.Returning to his roots, Krystian Zimerman pays tribute to his compatriot Karol Szymanowski on the 140th anniversary of the composer’s birth. This selection of little-known works testifies to the importance of Szymanowski within the piano repertoire. A long twenty-eight years separate Zimerman's recording of Masques, Op. 34 (made in 1994 in Copenhagen) from the rest of the programme, which was recorded in 2022 in the exceptional acoustics of the Fukuyama Concert Hall near Hiroshima.Nevertheless, the considerable lapse of time between these recordings doesn’t detract from the album's coherence. This is thanks to Zimerman's fluid, clear and readable sound, which—as we know—leaves nothing to chance. This fascinating recording reveals various facets of Szymanowski's compositional genius and features both his mature and early works, all of which were influenced by the great Chopin.Composed during the First World War whilst staying at the family estate in Ukraine, the three parts of Masques evoke Debussy, Scriabin and Stravinsky. However, each movement is overlaid with the orientalist perspective so typical of the Polish composer. A few carefully chosen Préludes and Mazurkas stand alongside the splendid Variations on a Polish Folk Theme for piano, Op. 10, composed by a young Szymanowski still in the process of mastering his mother tongue. © François Hudry/Qobuz
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Haydn 2032, Vol. 13: Horn Signal

Giovanni Antonini

Symphonic Music - Released January 27, 2023 | Alpha Classics

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Each new volume of the Haydn 2032 Series, which aims to record all 107 of Haydn’s symphonies by the 300th anniversary of his birth, is eagerly awaited. And Giovanni Antonini doesn’t disappoint, with his generous and dynamic direction breathing new life into the father of symphony’s works. Volume 13 gets off to a flying start with the opening fanfare of Symphony No.31 in D major, “mit dem Hornsignal” (with horn signal), which employs four horns—a rare thing before Mozart’s Symphony No.25 eight years later and of course, Beethoven’s Ninth Symphony. Symphony No.59 in A major “Der Feuer” (the fire) is particularly invigorating with its joyous, almost surreal opening theme, setting the tone for the whole piece.Symphony No.48 in C major, nicknamed “Maria Theresia” (after Empress Marie-Theresa of Austria, mother of Queen Marie-Antoinette of France), was long confused with Symphony No.50, the piece that was actually written for the sovereign’s visit to Esterhazy castle where Haydn worked. The nickname, and the associated confusion, have nonetheless stuck to this day. This symphony is one of the most original and symbolic symphonies of the Sturm und Drang period—the German political and literary movement that permeated all the arts in the second half of the 18th century. All the volumes in this series also feature works which mirror Haydn’s corpus. Here, Giovanni Antonini has chosen to close the programme with Concerto for recorder, horn & continuo by Georg Philipp Telemann, which echoes the hunting symphony at the beginning. © François Hudry/Qobuz