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Classical - Released April 20, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
After celebrating thirty years of life and work together with the Trios by Dvořak, our three wandering companions (Vincent Coq, piano, Jean-Marc Phillips-Varjabédian, violin and Raphaël Pidoux, cello) have brought out another round of Trios, this time by Joseph Haydn, the inventor of this form, which is an inheritor of the baroque trio sonata, with a cello part often providing the basso continuo. There are 39 authentic compositions by Haydn for this instrumental format, which he wrote at various points throughout his life. The music is of very high quality and it unites all the characteristic forms of his style, his vivacity, expression, freedom of tone and form, and the zest of his cheering humour. The Wanderers have judiciously selected their works from three different epochs for this new album which offers the Trios n° 14, 18, 21, 26 & 31 which offer plenty of surprises and rare tonalities from Haydn, like A-flat major, F-sharp minor, or E-flat minor. The performance is both fluent and lucid. © François Hudry/Qobuz

Quartets - Released October 7, 2014 | Arcana

Booklet Distinctions 5 de Diapason

Classical - Released January 1, 1991 | Decca Music Group Ltd.

Distinctions Gramophone Record of the Year - The Qobuz Ideal Discography

Symphonic Music - Released June 8, 2018 | Alpha

Hi-Res Booklet Distinctions Preis der deutschen Schallplattenkritik
Since the 2015-2016 season, Giovanni Antonini has been the "principal guest conductor" of the Basel Chamber Orchestra (the Kammerorchester Basel, refounded in 1984 in the spirit of the original Basler Kammerorchester, founded by Swiss patron and conductor Paul Sacher), with whom he has worked on major discographic projects, like the ongoing complete recordings of Beethoven's Symphonies (Sony Classical), which has already seen lively success with press and public alike; and the "Haydn 2032" project, which aims to record all 700 of Joseph Haydn's symphonies in time to mark three hundred years since his birth (in 2032). Started in 2014, this audacious project has been entirely organised, produced and financed by the Basel Joseph Haydn Foundation, and it aims to take in both records and 19 concert seasons across all of Europe. It is being undertaken in cooperation with Il Giardino Armonico, a well-known ensemble of which Giovanni Antonini is a founder member.. The two orchestras are sharing out the recordings which will appear on Alpha Classics, in thematic, rather than chronological order, with other symphonies by composers in Haydn's orbit, like Gluck, Porpora, C.P.E. Bach, Mozart, Beethoven, Michael Haydn, Stamitz, Pleyel and Salieri. The next few years look to be absolutely thrilling in terms of releases. This sixth volume offers three symphonies which are full of a dense and almost spiritual expressiveness dating back to Haydn's Sturm und Drang era, coupled with a work by Joseph Martin Kraus, an exact contemporary of Wolfgang Amadeus Mozart, whose genius absolutely stands up alongside both Haydn and Mozart. But history was not kind to this visionary composer, who moved to Sweden, where he failed to make a mark, despite the protection of King Gustav III. His music, strongly expressive, is also influenced by the Sturm und Drang movement which brought drama to musical discourse and heralded the birth of Romanticism © François Hudry/Qobuz

Classical - Released February 1, 2019 | harmonia mundi

Hi-Res Booklet
After having released his complete recording of Mozart’s Sonatas and collaborated with the singer Mark Padmore (Beethoven, Schubert, Schumann), Kristian Bezuidenhout continues to expand his discography with Joseph Haydn this time. Under the record label Harmonia Mundi, the South-African pianist emphasizes the whimsical and fanciful elements of a selection of Haydn’s works that were influenced by Carl Philipp Emanuel Bach, a composer from whom he learnt a lot and described with a certain fondness. Here, the Sonata in C major (Hob. XVI:48) is halfway between the Variations on a Theme and a totally unbridled fantasy, whereas the Sonata in C minor (Hob.XVI:20) unlocks the full dramatic potential of keyboard music. The later works on this album are contrasted with earlier ones such as the charming and spirited Sonata in G major (XVI:6) which is followed by two sequences of variations. This repertoire showcases Haydn’s inexhaustible creative energy as well as his ability to reinvent himself with each of his works. The performer relishes the performance here, playing on a Paul McNulty fortepiano modelled on an Anton Walter Viennese piano from 1805. © François Hudry/Qobuz

Classical - Released September 15, 2014 | ARTALINNA

Hi-Res Booklet Distinctions 4F de Télérama
Still little known by music lovers, Japanese pianist Hiroaki Takenouchi has a boundless admiration for the works of Joseph Haydn, whose terrific inventiveness he has been analyzing for many years. For this first album on the Artalinna label, he proposes four sonatas that were composed in the early 1770s. They feature a dense, spirited, serene, and joyful Haydn that is consistently uncluttered. © Artalinna/Qobuz

Solo Piano - Released July 6, 2018 | Chandos

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 5 étoiles de Classica

Classical - Released March 2, 2018 | Carus

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik

Symphonic Music - Released November 10, 2017 | Alpha

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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

Symphonic Music - Released March 29, 2010 | Naive

Booklet Distinctions Diapason d'or

Symphonies - Released January 1, 2009 | Decca


Symphonic Music - Released September 14, 2018 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - 5 étoiles de Classica

Sacred Oratorios - Released October 2, 2015 | Phi

Hi-Res Booklet Distinctions 4 étoiles de Classica
The entire creation of the world in an hour a quarter… it had to be through Haydn’s extraordinary powers of concentration that this insane wager could possibly succeed; others would not even dare attempt it. The Creation, dating from 1798, is one of the most ultimate and powerful of Haydn’s masterpieces. The great composer was always a master of surprise, and his invention of the Big Bang in musical form – including an introduction proclaiming ‘And then there was light’ – is chorally orchestrated to phenomenal effect. The work also retains a wonderful description of the various creations of the Lord; the extravagant evocation of whales remains an intense moment of orchestral invention, and the score is full of a genius which Beethoven had merely tapped into… Philippe Herreweghe has chosen to focus on a certain transparency of place, rather than perpetuating the traditional, bombastic dramatic gestures of orchestras within the German sphere. And, thus, the score gains greater clarity.

Chamber Music - Released March 2, 2018 | Chandos

Hi-Res Booklet
This is volume three in the Doric String Quartet’s ongoing exploration of Haydn’s complete string quartets, already highly praised by major international media and regularly supported by concerts in the world’s greatest venues, from Carnegie and Wigmore halls to the Royal Concertgebouw. The Op. 64 Quartets date from a time of great change for Haydn, compared with the previously recorded Op. 20 and Op. 76. Not only was Haydn preparing for the greatest adventure of his life – what would turn out to be the first of two trips to London – at the time of their composition, in 1790, but they also appeared under a new publisher, Leopold Kozeluch’s firm Magazin de musique. Marked throughout by the virtuosity of the Doric String Quartet, the rhythmic energy as well as the poetic tenderness of the players, this recording showcases a highly characteristic side of Haydn’s music, the inexhaustible versatility and constant unpredictability of the materials. © Chandos

Classical - Released November 3, 1986 | Decca Music Group Ltd.


Classical - Released January 31, 1987 | BIS


Classical - Released January 1, 1979 | Decca Music Group Ltd.

Booklet Distinctions Diapason d'or - Gramophone Record of the Year

Classical - Released November 17, 2017 | Warner Classics

Hi-Res Distinctions 5 de Diapason

Solo Piano - Released March 30, 2010 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
Perhaps one of classical music's least noted but most important stories of the new millennium has been the profusion of recordings of Haydn's keyboard sonatas, each as different from the others as are the major schools of playing Beethoven, if not more so. Part of the reason for the variety is that, as French pianist Jean-Efflam Bavouzet points out here, Haydn's manuscripts contained very little in the way of interpretive markings, leaving the field open for future performers and editors. Bavouzet, operating in the sonically superb environment of Suffolk, England's Potton Hall and playing a modern Yamaha, nevertheless adopts the fruits of historical research in his approach. He takes the repeats and heavily ornaments them, without, however, drawing attention to himself in the process. More generally, his tone is clean, very quiet, and rather harpsichord-like. In the slow movements of these four middle-period sonatas he's low-key indeed, but his playing holds up under attentive listening; his playing successfully draws the listener into an intimate space. Bavouzet's readings generally have the sort of Haydn X factor that leaves the listener completely unsure of what's coming next. Strongly recommended and whets the appetite for other albums in the occasional series that Bavouzet promises is coming.

Classical - Released January 1, 2000 | Decca Music Group Ltd.