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Classical - 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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Classical - 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. © TiVo
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Secular Vocal Music - Released April 8, 2014 | Phi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio
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Classical - Released April 2, 2013 | Chandos

Hi-Res Booklet Distinctions Pianiste Maestro - Choc de Classica - Hi-Res Audio
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Classical - Released March 24, 2017 | Signum Records

Hi-Res Booklet Distinctions Gramophone Award - Gramophone Editor's Choice - 4 étoiles Classica
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 September 4, 2012 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Hi-Res Audio
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Classical - Released April 8, 2014 | Zig-Zag Territoires

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica - Hi-Res Audio
Although it is played on a period instrument, no one is arguing that this recording of Haydn's The Seven Last Words of Christ is historically authentic. The work, exceptionally in Haydn's output, exists in multiple versions, for orchestra, string quartet, chorus, and keyboard (either fortepiano or harpsichord). But surely Haydn did not have the instrument heard here, the rare tangent piano, in his head. This was, speaking roughly, a piano-harpsichord hybrid that never really found its footing in the late 18th century. As long as listeners are down with the idea of a fairly speculative recording, the effect of the tangent piano in this particular work is electrifying. Lubimov gets the best of both worlds: the intimacy of the keyboard version and the dynamic contrasts and timbral shadings of the orchestral original. The keyboard transcription is not by Haydn himself but was made in his own time, and he approved it. Lubimov works from this, tweaking it and adding contrasts that break up the seven consecutive slow movements and give them an extraordinarily expressive quality. Even when listeners know it's coming, the final Terremoto movement, depicting the earthquake following Christ's crucifixion, comes as a shock. Listeners will never hear the work quite the same way again after experiencing this recording, and even if Haydn didn't intend it this way, most may well end up wishing he had. © TiVo
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Classical - Released September 1, 1998 | INA Mémoire vive

Distinctions Choc du Monde de la Musique - 10 de Répertoire - 4F de Télérama
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Classical - Released January 1, 1991 | Decca Music Group Ltd.

Distinctions Gramophone Record of the Year - The Qobuz Ideal Discography
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Symphonic Music - Released January 17, 2020 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - 5 étoiles de Classica
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Classical - Released November 15, 2019 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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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Classical - Released February 1, 2019 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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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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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Symphonies - Released April 21, 2015 | Alpha

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica
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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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Classical - Released January 1, 1979 | Decca Music Group Ltd.

Booklet Distinctions Diapason d'or - Gramophone Record of the Year
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Classical - Released August 19, 2016 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Classical - Released March 22, 2019 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or
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Classical - Released February 24, 2017 | Evidence

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Classical - Released May 17, 2019 | Mirare

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