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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: String Quartets, Vol. 12

Leipziger Streichquartett

Classical - Released February 1, 2020 | Musikproduktion Dabringhaus und Grimm (MDG)

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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

Hi-Res Booklet Distinctions 4 étoiles Classica
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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
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Haydn - 48 Piano Sonatas

Daniel-Ben Pienaar

Classical - Released August 25, 2023 | Avie Records

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Haydn: Cello Concertos Nos. 1 & 2 - Monn: Cello Concerto

Freiburger Barockorchester

Concertos - Released March 27, 2003 | harmonia mundi

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This admirable Harmonia Mundi release presents Franz Josef Haydn's two cello concertos and the Cello Concerto in G minor by Georg Matthias Monn with the luster of period instruments; refined, idiomatic playing; and exceptional sound quality, with full resonance; and cellist Jean-Guihan Queyras and the Freiburg Baroque Orchestra, directed by Petra Müllejans, render these works with exquisite details and emotional depth. In a real sense, their performances are acts of rediscovery, for Haydn's cello concertos have become routine fare from too many modern renditions, and Monn's piece is unfamiliar from too few performances. Indeed, all three concertos have suffered the vagaries of preservation and interpretation. Haydn's Cello Concerto No. 1 in C major was once considered lost until its discovery in 1961; the Cello Concerto No. 2 in D major suffered false attribution and its authorship was debated until the appearance of the manuscript in 1954; and Monn's concerto survived only in an arrangement for harpsichord and strings until Arnold Schoenberg edited it in 1912. To set the record straight, this disc presents the concertos intelligently refurbished, with appropriate eighteenth century style and color. Through their insightful scholarship and sensitive performances, Queyras and Müllejans have produced a fine alternative to the less authentic mainstream recordings.© TiVo
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Haydn 2032, Vol. 10: Les heures du jour

Giovanni Antonini

Classical - Released July 9, 2021 | Alpha Classics

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Entitled "The Times of Day", this programme of the tenth volume in the complete recording of Haydn’s 107 symphonies on Alpha Classics is devoted to Symphonies No. 6, No. 7 and No. 8, whose individual names translate as "Morning", "Noon" and "Evening". Prince Paul Anton Esterházy, who commissioned the work, is said to have wanted to show his guests that his orchestra was of excellent quality and that "his" Haydn was highly inventive. Giovanni Antonini’s orchestra, Il Giardino Armonico, once again rises to the challenge! This triptych following the sun’s course is prolonged into the night by the work of another composer: Mozart’s Serenade in D major, nicknamed "Serenata notturna", probably written for a masked ball at Salzburg Town Hall in February 1776. Jérôme Sessini of the Magnum agency, who has won awards for his work on the cartel wars in Mexico and the opioid crisis in the United States, took the photographs featured in this volume. © Alpha Classics
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Haydn 2032, Vol. 9: L'Addio

Sandrine Piau

Classical - Released January 22, 2021 | Alpha Classics

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The last instalment of Giovanni Antonini's complete works of Haydn with the ensemble Il Giardino Armonico features three symphonies and La Scena di Berenice sung by Sandrine Piau. We know the story of the symphony “The Farewell", a subtle request from the composer to his prince to grant leave to exhausted musicians in his chapel. In the Finale, a moving Adagio, each musician blows the candles from his desk and leaves on tiptoe until the stage is empty. But this pleasant anecdote too often obscures any analysis of a work full of originality thanks to its rare key (F sharp minor) and the structure of its different movements. While Joseph Haydn sets out a classical framework for the symphony, he simultaneously explodes the schema by means of an architecture which is constantly renewed through a continuous motion from major to minor keys. This is the case of Symphony No. 35 in B-Flat Major which opens this album, constantly oscillating between pure entertainment and drama in a spirit which is totally peculiar to the eighteenth century. This long search for form led Haydn to take sometimes unusual paths, as in this Symphony No. 15 in D Major, which seems to synthesise his research from the late 1750s. The Minuet is for example placed in second position, before an Andante of great simplicity and a final Presto in the form of a rondo. Inspired by Metastasio's Antigone and premiered in London in 1765, la Scena di Berenice is Haydn's greatest dramatic scene outside of his operas. Abandoned by her lover, Bérénice sings her despair and rage through music full of boldness. © François Hudry/Qobuz
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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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Haydn 2032, Vol. 8 : La Roxolana

Giovanni Antonini

Classical - Released January 17, 2020 | Alpha Classics

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A Lionel Tertis Celebration

Timothy Ridout

Classical - Released January 26, 2024 | harmonia mundi

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Violist Lionel Tertis and cellist Pablo Casals were both born on December 29, 1876. They were friends, and both did much to popularize and attract repertory to their respective instruments. It was a good day to be born, for both lived into their late nineties. Tertis is a familiar-enough figure among string players and aficionados of the early 20th century British scene, but he deserved the tribute that violist Timothy Ridout (who has already recorded Tertis' transcription of the Walton Cello Concerto for viola) offers here. Tertis is not well represented on recordings, so it is not really clear to what degree Ridout replicates his style. (Certainly, it does to some degree; Tertis' influence on British viola teaching was and remains deep.) Yet the program represents his activities in an engaging way. Although Arnold Bax wrote a good deal of music for Tertis, there is nothing by him here; perhaps another album is on the way, but there is a good deal of music that is not widely available elsewhere, certainly not in one place. There are attractive miniatures by Tertis himself, a variety of transcriptions he made of well-known pieces, and a genuine oddity, an obbligato part for the first movement of Beethoven's "Moonlight" Sonata. There are three more substantial works, the Viola Sonata No. 1 in C minor, Op. 18 by York Bowen; the viola version of Vaughan Williams' Six Studies in English Folk Song; and the Viola Sonata of Rebecca Clarke. The last two were not written for Tertis, but Clarke was a fine violist herself, and nothing seems out of place. The Clarke work, skillfully exploiting the viola's lower reaches, is especially nicely done. A must for violists, this is of interest to any lover of 20th century English music, and it made classical best-seller charts in early 2024.© James Manheim /TiVo
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Haydn 2032, Vol. 7 : Gli impresari

Giovanni Antonini

Classical - Released February 22, 2019 | Alpha Classics

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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 a great success with the press; and the "Haydn 2032" project, a recording of the complete hundred and seven symphonies by Joseph Haydn, to mark the composer’s 300th birthday. Volume 7 begins with the extraordinary Symphony No. 67 in F major. This astonishing work showcases its author's boundless inventive faculty, bringing together an overpowering joie de vivre with passages of pure chamber music; the evocation of the village fiddlers or, in the wonderful and enchanting Mozartian Adagio, the use of the bows "col legno" (that is, used by striking the wood of the bow against the stands) long before Rossini in his opening to Il Signor Bruschino, remain particularly memorable moments. Mozart, the much-admired friend, is also present in this album dedicated to the impresarios ("gli impresari"), those theatre directors whom Prince Esterházy hired for certain shows that Haydn enriched with compositions which would later be transformed into symphonies – and which are now presented here, in this volume. In addition to the Symphony No. 67 described above, this edition offers an original version of Mozart's Thamos, King of Egypt in an exclusively instrumental form, as well as Haydn's Symphonies No. 9 and No. 65 which were written for use in the theatre. This theatre of passions that runs through Haydn's 107 symphonies must therefore be understood as a perfect match between the natural aspirations of the composer's own genius and the pragmatism that almost always governed the arts of the time. © François Hudry/Qobuz
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Lalo: Symphonie espagnole - Bruch: Violin Concerto

Renaud Capuçon

Classical - Released January 22, 2016 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason
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Haydn : Concerti per Esterházy

Amandine Beyer

Violin Concertos - Released October 26, 2018 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique
To say that the concerto was one of Haydn's favourite forms would be a bit much, daft even. The man wrote a good hundred symphonies, dozens of quartets, trios, piano sonatas, fifteen or so masses and as many operas, and oratorios... Currently we know of three violin concertos (others being lost or apocryphal), two cello concertos (others... see above), one horn concerto, one for trumpet (there are no others) and at most about ten concertos for piano. Musically, they are fascinating works, but the level of technical skill they demand runs from moderate to a bit tricky. But the First Cello Concerto is not without its moments of difficulty, such as the rapid high notes in the final movement, and it offers some real fireworks. It should also be noted that most of the concertos were written for Esterházy, specifically for the first soloists in the house orchestra of Konzertmeister Luigi Tomasini and first cellist Joseph Weigl. The orchestral accompaniments offered the soloists some fine backdrops: in particular in the second movement of the Concerto for violin in C Major , with the orchestra's string section accompanying the solo violin with a sort of lute-playing that becomes a kind of serenade à la Don Giovanni. Amandine Beyer takes up the violin for this recording, while Marco Ceccato deals with the cello solo – both members of the Gli Incogniti ensemble ("The Unknowns"), a fluid grouping that plays without a conductor. Their leaderless style means that the musicians all listen to one another: it's a lovely way of making music (and sadly rare in the world of orchestras). © SM/Qobuz
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Haydn 2032 - Vol. 5: L'Homme de génie

Giovanni Antonini

Classical - Released November 1, 2017 | Alpha Classics

Hi-Res Booklet
Haydn2032, the ambitious project of recording the complete symphonies of Haydn, has been placed from the start under the artistic direction of Giovanni Antonini, with two ensembles, Il Giardino Armonico, which made the first four volumes, and the Kammerochester Basel, to which this fifth volume and the next two are assigned. Another characteristic of the edition is that each time Haydn is set in perspective with another composer; here it is Joseph Martin Kraus (1756-92): ‘Kraus was the first man of genius that I met. Why did he have to die? It is an irreparable loss for our art. The Symphony in C minor he wrote in Vienna specially for me is a work which will be considered a masterpiece in every century’, said Haydn in 1797. Though he long remained forgotten after his death, Kraus made an active contribution to the movement of poetic renewal called ‘Sturm und Drang’ or ‘Geniezeit’ (time of genius) because such artists as the young Goethe broke free of all tradition to follow their hearts alone. When Haydn called Kraus homme de génie, in French, he probably had this context in mind. The two composers had met in Vienna in 1783. © Alpha Classics
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Haydn: London Symphonies

Heidelberger Sinfoniker

Classical - Released January 8, 2018 | haenssler CLASSIC

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A Golden Cello Decade, 1878-1888: Dvořák, R. Strauss, Bruch, Le Beau

Steven Isserlis

Classical - Released November 4, 2022 | Hyperion

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Haydn: Cello Concertos; C.P.E. Bach: Cello Concerto

Steven Isserlis

Classical - Released September 1, 2017 | Hyperion

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Haydn, 12 London Symphonies

Marc Minkowski, Les Musiciens du Louvre

Symphonic Music - Released March 29, 2010 | naïve

Booklet Distinctions Diapason d'or