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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 August 19, 2016 | Alpha

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Masses, Passions, Requiems - 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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Quartets - Released October 7, 2014 | Arcana

Booklet Distinctions 5 de Diapason
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Solo Piano - Released May 17, 2019 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
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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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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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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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Symphonic Music - Released September 29, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released September 4, 2012 | Chandos

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Classical - Released September 6, 2011 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason
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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.
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Solo Piano - Released July 5, 2019 | BIS

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Solo Piano - Released September 20, 2019 | SOMM Recordings

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released November 17, 2017 | Warner Classics

Hi-Res Distinctions 5 de Diapason
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Classical - Released May 26, 2011 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Violin Concertos - Released March 26, 2007 | Pan Classics

Distinctions 5 de Diapason - 9 de Répertoire
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Classical - Released June 15, 2012 | RCA Red Seal

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released April 17, 2015 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Symphonic Music - Released February 7, 2012 | Haenssler Classic

Distinctions 5 de Diapason