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Classical - To be released October 5, 2018 | audite Musikproduktion

Hi-Res Booklet
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Classical - To be released October 5, 2018 | audite Musikproduktion

Hi-Res Booklet
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Classical - Released September 7, 2018 | audite Musikproduktion

Hi-Res Booklet
A dialogue between historical and contemporary composers. Luciano Berio's references to Scarlatti and Jörg Widmann's homage to Schubert are contrasted by Andrea Lucchesini with original works of the two earlier composers, weaving both original and reference into a new whole. Prominent modern-day composers cultivate a relationship with historical compositional styles, bringing to light innovations and divergences as well as a continuation of and indebtedness to the past. Berio and Widmann are both closely involved with this new recording: Lucchesini and Berio enjoyed a close personal relationship during the composer's lifetime, while Jörg Widmann wrote a text for the new production and is also connected to Andrea Lucchesini. Andrea Lucchesini is one of the leading Italian pianists of our day. His triumph at the Dino Ciani International Competition at a young age marked the beginning of his international concert career. He has since performed all over the world with leading orchestras under renowned conductors as well as in solo recitals. His primary interest lies in contemporary music. Berio's Echoing Curves was premiered by Lucchesini, and he was also involved in the composition of the Sonata, Berio's last work for solo piano. Since 1990 the pianist has increasingly devoted himself to chamber music as well, performing in many different instrumental combinations and particularly in close collaboration with the cellist Mario Brunello and the Quartetto di Cremona. © Audite
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Classical - Released September 7, 2018 | audite Musikproduktion

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Classical - Released August 3, 2018 | audite Musikproduktion

Hi-Res Booklet
No one could argue that there's a scarcity of recordings of Bach's Partitas and Sonatas for Solo Violin on the market; from 1903, Joseph Joachim, aged 72, recorded a few movements, and Sarasate followed in his footsteps shortly after. The first complete recording was made by the young Menuhin in 1936, followed by cascades of new versions by Szigeti, Milstein, Szeryng and Grumiaux, who made a lasting impact on the way this music would be played. And then came the "baroques", led by Kuijken, who set the record straight on the baroque era – although fans of the different schools would continue to tear chunks out of each other. Like any self-respecting violinist, Christoph Schickedanz long had the idea of recording his own vision of the six works; and after his great predecessors and the recent baroque school, newcomers would easily be able to forge a completely new conception that mixed the two, without risking the ire of either tendency. And so he has chosen to play with a moderate vibrato, without the romantic glissandos which encumbered the pioneers' discourses; or the heaviness of tempo which shackled many readings; or indeed the headlong baroque charges which had wrecked several recordings by partisans of the old school. In short, he has given a personal and perfectly convincing reading. © SM/Qobuz
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Miscellaneous - Released July 6, 2018 | audite Musikproduktion

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Classical - Released June 8, 2018 | audite Musikproduktion

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Taken from the old RIAS archives in Berlin, this monographic record is dedicated to some pieces by Richard Strauss which are not (with the exception of Till Eulenspiegel) among his better-known works. We begin with Burleske for piano and orchestra, played here by the Swiss pianist Margit Weber, who mainly dealt with the music of her day, performing works written for her by Stravinsky (Movements for Piano and Orchestra ), Martinů and Tcherepnin. The Oboe Concerto and the Duet-Concertino are two later works, and among the composer's most tender works, written during Strauss's exile to Switzerland, following a too-close encounter with the Nazi regime. We are thrilled to find the whole lot conducted by the great Ferenc Fricsay, who passed away too young, and who made the Berlin RIAS Orchestra (the radio orchestra for the American sector) one of the great German ensembles. Fricsay's career took off internationally following the end of the war, when he performed Gottfried von Einem's La Mort de Danton at the Salzburg Festival in 1947. The following year, he conducted the first stage performance of Frank Martin's Vin Herbé, and then Antigone by Carl Orff in 1949. At the start of the following decade, he started to make records for Deutsche Grammophon, some of which would become legendary, like Tchaikovsky's "Pathétique" Symphony; the Symphony "From the New World" by Dvořák; Háry János by Kodály; Bartók's Piano Concertos and Mozart's too, withGéza Anda; the Mass in C Minor and The Magic Flute by Mozart, the latter two being the composers with whom he is most often associated, even if his repertoire is much broader and very much concerned with the music of his day. © François Hudry/Qobuz
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Classical - Released June 8, 2018 | audite Musikproduktion

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An honorary citizen of the town of Cremorna, the birthplace of Antonio Stradivari and many other makers of stringed instruments, in 2017 the Quartetto di Cremona finished its complete recordings of Beethoven's quartets, which they started in 2013, and which are presented here in a single album. This is an opportunity to rediscover the extent to which these recordings reign supreme over a discography which is hardly short of stand-out recordings, starting with the one by their former colleagues of the Quartetto Italiano which remains one of the greatest in the history of the music. Either using the four Stradivariuses loaned them by a Japanese foundation, or the prestigious instruments provided by a German cultural foundation (by Guadagnini, Testor, Torazzi and Amati), the Quartetto di Cremorna brings us Beethoven's whole range of expression, from the Haydnian humour and rhythmical vigour of the Opus 18 to the metaphysical depths of the final quartets, by way of the serene luminosity of the Razoumovski quartets. In their performances, which foreground dynamic contrasts, sometimes to excess, sonic finesse is constantly blended with expressive depth and a savvy mix of heart and brain. The presentation here is not chronological, but follows the release of albums which each presented different quartets in three of Beethoven's "styles" according to the method of Wilhelm von Lenz, which prevailed in the 19th century after 1852. The serious fan could easily arrange these quartets for listening in an order of their own preference. © François Hudry/Qobuz
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Chamber Music - Released May 4, 2018 | audite Musikproduktion

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It’s not a typo: the duo is indeed called Cheng² Duo, in other words Duo Cheng squared. It makes sense considering the cellist is named Bryan Cheng, and the pianist Silvie (again, not a typo!) Cheng – yes, they are siblings. Despite what their last name may suggest, the Chengs are in fact from Canada and made their debuts as soloists with the country’s best orchestras before going on a world tour to pursue their now international career. The family cooperation, as a duo, led them to the present Iberian repertoire, made up almost exclusively of rewritings of works for piano, vocals and orchestra: only Turina’s Danzas fantásticas is performed in its original version for piano solo, and Cassadó’s Suite for cello solo… on cello solo, one could have guessed! What an incredible energy these two bring to the table! Some arrangements are in fact the work of big names such as Maurice Gendron, Cassadó or Piatigorsky. The Spain of Cheng² is packed with fire and flames – who could resist the Song of Wildfire, and of tenderness, of El amor brujo −, Falla’s Siete canciones populares españolas (Seven Spanish Folksongs) are a wonderful achievement. Here is a strong and beautiful album, presenting – with perfect conviction – well-known works but in new formats, thus shining a new musical light onto them. © SM/Qobuz
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Miscellaneous - Released May 4, 2018 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
Following the release of Prokofiev's Cantata for the 20th Anniversary of the October Revolution, Kirill Karabits dedicates his next Audite recording with the Weimar Staatskapelle to the "Weimar" Strauss. Weimar was not only the metropolis of the classical era that acquired world fame thanks to Goethe and Schiller. Weimar was also the domain of great musicians: Franz Liszt served as Kapellmeister in the city and invented the genre of the symphonic poem. Richard Strauss followed in his footsteps when he, as Kapellmeister from 1889 until 1894, presented his own first symphonic poems, Macbeth and Don Juan, at the helm of the Weimar court orchestra. Kirill Karabits, Generalmusikdirektor of the Deutsches Nationaltheater since 2016, now presents, alongside today's Weimar Staatskapelle, not only these two major works of his great predecessor, but also Tod und Verklärung, which Strauss had completed in Weimar. The contemporaneous Festmarsch in C major - Strauss' anniversary gift to "Die Wilde Gung'l", the Munich orchestra he had conducted in his youth - is a true rarity, rounding off this recording. © Audite
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Chamber Music - Released April 6, 2018 | audite Musikproduktion

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Following two albums dedicated to Brahms’ sonatas and Russian sonatas released in 2008 under Aeon, Marc Coppey and Peter Laul present a Beethoven piece for cello and piano. Recorded live in 2017 in the marvellous baroque treasure that is the Small Hall of the St. Petersburg Philharmonic, this new complete collection features the five sonatas and three series of variations on themes by Handel and Mozart. This corpus for cello and piano by Beethoven provides a striking shortcut through the three periods (formerly known as his three “styles”) of his musical evolution and it ushers in a long line of compositions for cello that only just started emancipating themselves from the continuo to which they were still restricted at the end of the 18th century. Used to emphasise the piano in the first two sonatas, the cello fully expresses itself in the third sonata, in which the dialogue establishes itself equitably and becomes genuinely virtuosic and soloist in the last two sonatas of the Op. 102. The perspective here is from cellist Marc Coppey, winner of the Leipzig Bach Competition at just eighteen years of age, and supported for his debut by Yehudi Menuhin. An international soloist and a professor at the Paris Conservatory, he teams up with pianist Peter Laul, a highly sought-after chamber musician trained at the St. Petersburg Conservatory where he now teaches, after winning prizes at the Bremen International Competition (1995, 1997) and the Moscow Scriabin piano competition (2000). Both musicians also frequently play in a trio with Russian violinist Liana Gourdjia. © François Hudry/Qobuz
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Classical - Released March 2, 2018 | audite Musikproduktion

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The Cavaillé-Coll organ in the cathedral of Saint-Omer is testament to the skill and talent of its famous constructor. The instrument's sonic aesthetics naturally combine refinement and opulence. The organ is thus an ideal medium to convey the musical and sonic transformations presented by this recording: Shostakovich's string quartet movement, piano pieces by Prokofiev and Rachmaninov as well as orchestral works by Rimsky-Korsakov and Tchaikovsky are all expanded by the transcriptions which bring out surprising sounds and details of the original works, creating new and unique listening experiences. Sophie Rétaux is titular organist of the Aristide Cavaillé-Coll organ of the Cathédrale Notre-Dame de Saint-Omer (France). To promote this exceptional instrument, she began transcribing major works of the chamber music and symphonic repertoire from the post-romantic and modern periods for her instrument. Several Prizes at international organ competitions launched her concert career in France and abroad. An avid chamber musician, she performs as frequently on the piano as she does on the organ, as well as on the harpsichord and the fortepiano. © Audite
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Chamber Music - Released February 2, 2018 | audite Musikproduktion

Hi-Res Booklet
For this recording, Finnish violinist Elina Vähälä and Dutch double bass player Niek de Groot have chosen and performed seven pieces, composed by six Europeans and one Korean. When a violin and a double bass come together, two sound spheres collide: particularly in recent times, many renowned composers have been inspired to create highly original realisations of such encounters. When a violin and a double bass perform chamber music together, it is a case of two instruments encountering each other when normally they are poles apart and play together only alongside additional parts and colours. This is where the composers who have come forward for this adventure of a violin and double bass duo link in: should contrasts be accentuated, or should the two parts be united to form one "super-instrument", as Erkki-Sven Tüür had in mind? Should the two instruments be protagonists in a "narrative", or do they appear as representatives of fundamental principles of human nature - as in the yin and yang, as drawn upon by the Korean composer Isang Yun? Whichever path is chosen, pairing the violin and the double bass is so fascinating that even busy composers such as Krzysztof Penderecki and Wolfgang Rihm have written magnificent and highly individual pieces for this combination. Violinist Elina Vähälä is one of the most sought-after instrumentalists in the international music scene. She made her debut with an orchestra at the age of twelve with Sinfonia Lahti and was later chosen as Sinfonia Lahti's "Young Master Soloist". In 1999 she won the Young Concert Artists International Auditions in New York. Elina Vähälä appears regularly with leading orchestras in Finland, Europe and the US. Concert tours have taken her to the UK, Finland, Germany, China, Korea, Japan, as well as to South America. Besides her solo career she is also a devoted chamber musician. Her repertoire ranges from baroque to contemporary. Elina Vähälä is a professor of violin at the Hochschule für Musik in Karlsruhe. Dutch double bassist Niek de Groot is one of today's leading soloists. Originally a trumpeter, he started playing the double bass at the age of eighteen. Within an unusually short time he became principal bass with several European ensembles, including a ten-year tenure as first solo bass with the Royal Concertgebouw Orchestra. Since 2006 Niek de Groot has dedicated himself entirely to chamber music and solo performances. He performs regularly as a soloist and chamber musician at the great international concert halls and music festivals. His repertoire includes a wide range of contemporary music. In 1996 he was appointed Senior Professor for Double Bass at the Folkwang Universität der Künste in Essen. © Audite
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Classical - Released January 19, 2018 | audite Musikproduktion

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Classical - Released November 24, 2017 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 de Diapason
The twentieth anniversary of the October Revolution made the year 1937 a high point of Soviet culture. At the same time, the "Great Terror" under Stalin reached its gruesome peak. Prokofiev, who settled permanently in Moscow in 1936, knew which country he had entered. The first position amongst Soviet composers seemed to have been vacated when Shostakovich had become a non-person following the Pravda article Muddle instead of Music. Prokofiev indicated his cooperation: he was determined to become a Soviet composer. In the Cantata for the 20th Anniversary of the October Revolution he played out his genuine enthusiasm for mass scorings, combining colossal symphonic forces with a double choir, a brass band, an accordion ensemble and a gigantic percussion section. The cantata oscillates between revolutionary vehemence and lyrical melodies, between Russian folklore and riotous military tumult. An exceptional historical document of the highest compositional level - released in the year of the 100th anniversary of the October Revolution. © Audite
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Symphonic Music - Released November 24, 2017 | audite Musikproduktion

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Volume 12 of the LUCERNE FESTIVAL editionpresents a sensational archive discovery: a live recording of the Manfred Overture from the 1953 festival, until recently presumed lost, and now released for the very first time. In 1953, Furtwängler also conducted two of his all-time favourites, Beethoven's Eroica and Schumann's Fourth Symphonies. Until now, these exciting interpretations were only available in technically flawed recordings made by enthusiasts. For this edition, the newly rediscovered original tapes from the archives of the SRF Swiss Radio and Television were made available. Wilhelm Furtwängler, invited to Lucerne for the first time in 1944, was one of the defining artists of the LUCERNE FESTIVAL's first decades. From 1947, he performed in Lucerne each summer (with the exception of 1952, when he had to cancel due to illness) until his final concert in August 1954, a few months before his death (recording also available in the "Historic Performances" series: audite 95.641). In total, Furtwängler conducted eighteen of the festival's concerts, sixteen of which with the Swiss Festival Orchestra who also played on 26 August 1953. Furtwängler's motto was to be "faithful to the spirit" rather than "faithful to each note". This Lucerne recording demonstrates his methodical approach, especially by means of a precisely calculated tempo architecture: Furtwängler's seemingly arbitrary tempo modifications hold structural significance, dynamising the musical form. Illustrated with numerous photos from the festival's archive, the 32-page booklet in three languages discusses this approach, whilst also referring to other famous recordings, such as Furtwängler's studio recording of Schumann's Fourth Symphony with the Berlin Philharmonic, made only a few months earlier. © Audite
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Solo Piano - Released November 3, 2017 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 de Diapason
RIAS − Rundfunk im amerikanischen Sektor – was the “Western” radio in Berlin between 1946 and 1993, serving as a cultural link between the two Germanys for decades. During that time, the RIAS recorded numerous musicians from across the world, including Jorge Bolet between 1962 and 1966 (in addition to a single track with Chopin’s Fantaisie-Impromptu in 1973): some three hours of recorded material covering a fair share of the massive repertoire of the notorious Cuban pianist at the height of his glory and career. These performances of course include works by Liszt and Chopin, numerous diabolically virtuoso pieces by Godowsky (of whom he was a disciple at the beginning of the 30s) and Moszkowski, as well as the two books of Debussy’s Préludes. An absolute delight for fans of the great gentleman pianist, particularly as all tracks, with no exception, come directly from the original RIAS matrices, re-mastered with the greatest care given to the sounds, polyphonic textures, contrasts and colours (especially for Debussy) the pianist magnificently conferred to everything he played. One can only regret that only three hours of Bolet exist in this higher quality. © SM/Qobuz
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Violin Concertos - Released October 13, 2017 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
Following Sergei Prokofiev’s works for violin and piano, Franziska Pietsch now presents an album featuring both Violin Concertos of the Russian composer, with whose oeuvre and idiom the artist – a former promising star of the GDR – has felt at home ever since her youth. Alongside Cristian Măcelaru and the Deutsches Symphonie-Orchester Berlin she presents a thrilling new recording. The two violin concertos represent two phases in, and two sides of, Prokofiev’s life and work. The first was written during an era of early successes, stylistically and temporally close to his Symphonie classique, but not premiered until he was in exile. The second mirrors the itinerant existence of his life as a musician in exile, but also his longing to return to Russia. © Audite
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Chamber Music - Released September 22, 2017 | audite Musikproduktion

Hi-Res Booklet
Poor Reger! With his pudgy figure and his pouty face, appearances have taken precedence over his music which many consider as pudgy and pouty. Which it is not. Yes, Reger was a firm supporter of absolute music, following the tradition of Beethoven and Brahms whose classical structures he combined with Wagner’s extended harmonies, adding Bach’s counterpoint; some of his works seem dense and complicated. But this is not the case with his chamber music – by the bye, chamber music makes up the biggest part of Reger’s œuvre – which reflects a condensed version of his stylistic development. And in contrast to his almost symphonic string quartets, the String Trios Opp 77b and 141b seem less symbolist-expressive than historistic-classicist. The confident, at times even cheerful (not pudgy and not pouty), character of these works convey the (superficial) impression of simplicity, despite which Reger remained true to his own style, as he explained in a letter where he described the composition as “absolutely not ‘un-Regerian’”. However, the characteristics of this “Regerian” style – dense modulations, surprising metric asymmetries and interesting part writing – are in this case subordinate to the small number of instruments and do not immediately emerge. The composer strove towards a “new simplicity”; in 1904 he wrote: “I know exactly what our music today lacks: a Mozart!” Surely it was also Mozart’s spirit which inspired Reger when he wrote his “miniature chamber music” String Trio Op. 141b in 1915. The same year, the premiere of his Piano Quartet Op. 133 was emphatically celebrated by the critics who praised its “glorious sonorities” and its “vocal, vivid and catchy” melodies. The Op. 77b, String Trio was obviously inspired by Mozart’s Divertimento K563, and the Op. 9 String Trios by Beethoven – as has often been commented upon, Reger frequently enters into an intensive dialogue with historic works of music. Star violinist Franziska Pietsch is joined, in her ensemble Trio Lirico, by a brilliant roster of colleagues, who give life to these highly deserving but neglected works.
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Classical - Released September 1, 2017 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
To conclude their great Beethoven cycle, the Quartetto di Cremona have chosen two masterworks from the composer’s early and middle periods: the Quartet in D major, Op. 18 No. 3, with its tempestuous final tarantella, and the “Harp” Quartet, Op. 74, which does not feature a harp but instead presents Beethoven on his way to modernism. © Audite

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