Albums

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Classical - To be released April 5, 2019 | audite Musikproduktion

Hi-Res Booklet
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Chamber Music - To be released April 5, 2019 | audite Musikproduktion

Hi-Res Booklet
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Classical - To be released March 8, 2019 | audite Musikproduktion

Hi-Res Booklet
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Classical - Released February 8, 2019 | audite Musikproduktion

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Contrary heroes: Mazeppa and Sardanapalo performed by Karabits and the Weimar Staatskapelle. Sardanapalo, who prefers wine and concubines to politics and warfare, and Mazeppa, who dies with glory, having endured pain and humiliation: dramatic literary models, impressively set to music by Franz Liszt. Written at the same time, these works represent Liszt's ideas striving to unite literature and music, on the one hand modernising Italian opera and on the other advancing towards the symphonic poem in his orchestral writing. The Sardanapalo manuscript comprises the first act. For 170 years the material lay dormant in the Goethe and Schiller archive in Weimar: it was only in 2017 that David Trippett deciphered, edited and orchestrated the manuscript at the University of Cambridge. © Audite
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Classical - Released January 11, 2019 | audite Musikproduktion

Hi-Res Booklet
Invaluable sound documents from one of the greatest pianists of the twentieth century. The third and final volume of the Berlin radio recordings by Cuban-born American pianist Jorge Bolet on audite presents repertoire novelties. With the exception of the Fledermaus paraphrase, all recordings are released for the first time. Once again, Bolet's performances document his universality and unceasing inquisitiveness, as well as his phenomenal musicianship and ability to adapt his virtuosity to diverse works. These recordings are therefore invaluable documents of a musician who today is justly considered one of the greatest pianists of the twentieth century. This selection comprises works of Beethoven, Chopin, Debussy, Dello Joio, Franck, Godowsky, Grieg, Liszt and Schumann. Beethoven's Fifth Piano Concerto did not form part of Bolet's regular repertoire: it is the only live recording on this edition. Further highlights include Schumann's Third Piano Sonata as well as major works by Chopin, such as the complete Op. 25 Études, in Bolet's masterful, lyrical interpretations. As an "encore", Bolet plays Godowsky's Concert Paraphrase of Strauss' Die Fledermaus. © Audite
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Miscellaneous - Released November 2, 2018 | audite Musikproduktion

Hi-Res Booklet
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Classical - Released November 2, 2018 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Classical - Released October 5, 2018 | audite Musikproduktion

Hi-Res Booklet
The complete edition of Beethoven's works for piano trio is rounded out with this release of the fifth volume, also the high point of the series: the Triple Concerto, recorded here with the Zurich Chamber Orchestra, is not a chamber music work, but a concerto for piano trio and orchestra that posed special challenges to the composer due to the presence of three soloists. The work's originality lies in the art of balancing the detail of chamber music with orchestral "al fresco. The concerto can be discovered alongside the skillfully-written Kakadu Variations, op. 121a, with their folk-like character, a work probably composed in 1809. The Piano Trio WoO 38 was composed in 1790/91 and is thus dating from Beethoven's Bonn period - an early stage of his chamber music compositions. During his lifetime the work remained unpublished. The Swiss Piano Trio concludes its journey through the cosmos of Beethoven's piano trio works with his "final word" in the genre, the Allegretto, WoO 39 dating from 1812. As brief as it is striking, its lyrical, hovering atmosphere already anticipates Beethoven's late works. © Audite
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Classical - 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

Hi-Res Booklet
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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

Hi-Res Booklet
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Classical - Released June 8, 2018 | audite Musikproduktion

Hi-Res Booklet
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

Hi-Res Booklet
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

Hi-Res Booklet
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

Hi-Res Booklet
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

Hi-Res Booklet
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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