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Quartets - Released October 11, 2019 | Aparté

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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 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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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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Masses, Passions, Requiems - 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 May 17, 2019 | Mirare

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Classical - Released May 17, 2019 | Profil

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Classical - Released November 1, 2019 | Sony Classical

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Classical - Released March 29, 2019 | RUBICON

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The Jubilee Quartet, formed in 2006 and named so as all the members lived along the route London’s Jubilee underground line, have studied with such illustrious figures from the world of chamber music as Gunter Pichler, Thomas Brandis, Garfield Jackson and the Belcea String Quartet. They have participated in masterclasses with the Skampa, Wihan and Chilingirian Quartets. They have an impressive tally of prizes from international chamber music competitions and have a busy international schedule. Their debut album features three Haydn quartets which, as ever with this composer are brim-full of innovation, drama and wide-ranging emotions. © Rubicon
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Classical - Released August 2, 2019 | Chandos

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Ivan Ilić came across these transcriptions, scarcely known at all, through the most unlikely and serendipitous sequence of events. Carl David Stegmann (1751 – 1826) was a tenor, keyboard player, conductor, and composer, who worked mostly in the field of opera. Employed by the Court Theatre in Mainz (where he sang in the first German-language production of Don Giovanni), he also gave a number of acclaimed performances in Frankfurt. Trained as an organist, he made transcriptions of string quintets by Mozart and Beethoven’s Trios, Op. 9 as well as keyboard transcriptions of twenty-five of Haydn’s symphonies. Ivan Ilić writes: ‘It is unclear to me whether these transcriptions were ever meant to be played as concert repertoire, in public. Nevertheless, the enthusiasm I have encountered wherever I have played them has persuaded me to make this recording, to allow more people to hear Stegmann’s idiomatic arrangements.’ © Chandos
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Chamber Music - Released September 27, 2019 | Resonus Classics

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Fresh from their latest accolade as winners of a Borletti-Buitoni Trust Award, the critically lauded Dudok Quartet Amsterdam embarks on a new project dedicated to Franz Joseph Haydn’s six Op. 20 String Quartets. This first installment of two volumes sees the quartet explore the C major, G minor and F minor quartets. With some of the most celebrated works from the quartet repertoire, the Dudok Quartet relish delving into the monumental and dramatic gestures within Haydn’s highly developed rhetorical style. © Resonus
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Solo Piano - Released July 5, 2019 | BIS

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Solo Piano - Released September 20, 2019 | SOMM Recordings

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Classical - Released September 20, 2019 | Fuga Libera

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Bart Van Reyn and Le Concert d’Anvers delve into two of Joseph Haydn’s lesser–known symphonies. Dating from the autumn of 1784, when Haydn was nearing the end of his employment at the Esterházy court, both seem to anticipate the Paris symphonies that would shortly follow. Having been largely overlooked by historically informed performance specialists, Van Reyn’s reading highlights the pair’s mutual sense of artistic ambition, drawing out their concise but powerful musical drama. These are accompanied with Haydn’s effervescent Piano Concerto in D major, featuring Belgian fortepianist Lucas Blondeel. Blondeel demonstrates his clear affinity with Haydn’s solo writing, rendering a performance that captures the concerto’s elegance while always sparkling with its composer’s characteristic wit. © Fuga Libera
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Classical - Released November 1, 2019 | Coro

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The Handel and Haydn Society continues its acclaimed Haydn exploration on CORO with one of the composer's last major works - the dramatic and sumptuous Mass in B-flat major more commonly known as the ‘Harmoniemesse’ because of its use of a full wind band. It is accompanied on this album by the Symphony No. 99 in E-flat major - one of Haydn’s twelve ‘London’ symphonies composed between 1791 and 1795 when London was the indisputable musical capital of Europe. © Coro/The Sixteen
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Classical - Released April 20, 2019 | Les Belles Ecouteuses

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Classical - Released September 13, 2019 | Profil

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Classical - Released May 10, 2019 | Warner Classics

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Classical - Released November 1, 2019 | Steinway and Sons

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