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Quartets - Released October 11, 2019 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - Choc de Classica - Qobuzissime
Six quartets: six works that are key to understanding what Joseph Haydn brought to western music. This effort by the Quatuor Hanson is particularly successful because they are past masters in constructing and expressing the soul of this subtle art. And what's more, they bring it off with a fascinating level of instrumental skill. Listening to this piece, we have to bow down once again before the genius of a composer who, along with Boccherini, invented a new genre and immediately studded it with masterpieces of staggering quality. Judiciously picked out from among Haydn's vast corpus, these six quartets are touching both in their expressiveness and in the perfection of their writing. Not a single note out of place, a perfect balance of four voices and inspired right from the first moment up to the incomplete closing Opus 77, which was a contemporary of Beethoven's first Quartets, Op. 18 – works that betray the lessons their writer learned from his master. More than two hundred years after his death, Haydn has only just found recognition as one of the greats, although he had been accorded that status during his life. But his works for keyboards, the symphonies, the oratorios, and to a lesser extent, the operas, speak in his favour. More than a forerunner, Haydn is a founder, a genius whose influence was felt by those who came after him, foremost amongst whom Beethoven and Schubert. This splendid album puts him (back) in his rightful place. © François Hudry/Qobuz
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Symphonic Music - Released February 22, 2019 | Alpha

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Classical - Released February 24, 2017 | Evidence

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Classical - Released March 22, 2019 | harmonia mundi

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Classical - Released February 1, 2019 | harmonia mundi

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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
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Violin Concertos - Released October 26, 2018 | harmonia mundi

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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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Classical - Released September 15, 2014 | ARTALINNA

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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
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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
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Classical - Released July 5, 2019 | Chandos

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After leaving the boys’ choir of St Stephens Cathedral in Vienna, one of the ways the young Haydn found to support himself was as a harpsichord teacher. The three early sonatas featured on this recording were almost certainly intended for his students: short, light pieces with few technical demands. The two larger sonatas, both in the key of E-flat major, were written some twenty years later and are far more extensive. Both require significantly greater prowess from the performer, and represent Haydn’s ingenuity and skill to the full. The two additional works included here, whilst single-movement compositions, are substantial pieces. The Adagio ma non troppo would become the slow movement of Piano Trio No. 36, whilst the Variations on ‘Gott erhalte’ is based on the second movement of the ‘Emperor’ Quartet (Op. 76 No. 3), which is itself a set of variations on an anthem composed by Haydn at the request of an Austrian politician for the 29th birthday of the Emperor, and intended as a patriotic hymn comparable to ‘God Save the King’ in England – and a response against the "Marseillaise". © Chandos
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Symphonic Music - Released June 8, 2018 | Alpha

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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
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Classical - Released November 15, 2019 | harmonia mundi

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Joseph Haydn composed around 15 masses between 1748 and 1802. The Missa Cellensis in honorem Beatissimae Virginis Mariae, presented here in this new release from the Akademie für Alte Musik and the excellent RIAS-Kammerchor Berlin conducted by Justin Doyle, is better known by the later name Missa Sanctae Caeciliae ("Mass for Saint Cecilia"). It's the most vast of Haydn's masses and his only mass-cantata in the solemn Neapolitan style, whose numbers alternate between arias, ensembles and choirs. It seems that Haydn had intended the composition of this mass to be a great coup: it is a deft mix of the "modern" writing of his day and the "baroque" writing of his predecessors. In his monumental biography of the composer, Marc Vignal notes correctly that Haydn's masses are first-rate, not only set against the production of his quartets or symphonies, but also when set against the religious music of his times. This recording, taken at a June 2018 concert at the Berlin Konzerthaus, completes a RIAS-Kammerchor discography which is already rich in choral works but which hadn't yet tackled Haydn's masterpieces. © François Hudry/Qobuz
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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.
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Solo Piano - Released May 17, 2019 | Mirare

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Classical - Released March 24, 2017 | Signum Records

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The Gabrieli Consort continue their series of award-winning collaborations with the National Forum of Music, Wrocław, Poland with a new recording of Haydn’s great oratorio The Seasons. Using a new performing edition by Paul McCreesh this recording is the first to feature the large orchestral forces that Haydn originally called for, including a string section of 60, 8 horns and a choir of 70. The disc features solo performances from British singers Carolyn Sampson, Jeremy Ovenden and Andrew Foster-Williams.
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Classical - Released April 13, 2018 | harmonia mundi

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The vagaries of the market have led a French pianist to record all his albums in England (Jean-Efflam Bavouzet for Chandos) whereas an English pianist, Paul Lewis, recorded all of his for the French label Harmonia Mundi. They both share a real love of Haydn. While the Frenchman has been recording sonatas by the Austrian composer from the start, Paul Lewis waited until he had assimilated Beethoven's 32 Sonatas and Schubert's as well, so as to be able to get to the root of the repertoire. For his first album dedicated solely to Haydn, he has chosen four sonatas, 32, 40, 49, and 50, allowing him to deploy his whole expressive range, dispelling once and for all the "Papa Haydn" tag that has for so long dogged the great musical innovator. In Paul Lewis's hands, Haydn's music is not that of an ancestor, however good, but of a Viennese classicist, performed with great nuance, a fluid sound and a wonderful, plastic beauty which makes the keyboard sing, underlining Haydn's joyful and puckish side as well as his passing melancholy. © François Hudry/Qobuz
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Symphonies - Released April 21, 2015 | Alpha

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Classical - Released August 19, 2016 | Alpha

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Symphonies - Released January 1, 2009 | Decca

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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
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Quartets - Released March 10, 2014 | harmonia mundi

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