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Classical - Released August 7, 2020 | audite Musikproduktion

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The complete Mozart works for string trio in a new recording with the Jacques Thibaud String Trio: alongside the well-known Divertimento, K. 563. Chamber music of the highest order, features rich harmonies, elaborately crafted contrapuntal textures and great technical challenges. The Preludes and Fugues are unique documents of Mozart's study of Bach's oeuvre. They contain three fugues from The Well-Tempered Clavier, one fugue each from The Art of Fugue and an Organ Sonata, as well as one fugue by Wilhelm Friedemann Bach. Four of the Preludes are probably Mozart's own, whilst two are from Bach's Trio Sonatas for organ. Mozart produced his arrangements for private Sunday gatherings at the home of Baron van Swieten, where he would play the viola part. Mozart's study of the old masters would prove an important influence on his later compositions. The six-movement Divertimento, K. 563, of 1788 is considered as the string trio par excellence. It is chamber music of the highest order, with rich harmonies and elaborately crafted counterpoint. Here, Mozart makes greater technical demands on the performers than in his Violin Concertos or his Sinfonia concertante, K. 364, for violin, viola and orchestra. In his three-part writing, Mozart reaches astonishing depths, with double stops at times imitating the sound of a quartet. All three string instruments are treated completely equally, each in turn taking the lead; the viola and cello are given especially rewarding melodic lines. This magnificent work condenses the entire potential of string trio playing into a 50-minute late Mozartian experience. © Audite
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Symphonic Music - Released August 7, 2020 | audite Musikproduktion

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Classical - Released August 7, 2020 | audite Musikproduktion

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Symphonic Music - Released July 24, 2020 | audite Musikproduktion

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Classical - Released July 24, 2020 | audite Musikproduktion

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Symphonic Music - Released July 10, 2020 | audite Musikproduktion

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Classical - Released July 10, 2020 | audite Musikproduktion

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Classical - Released June 26, 2020 | audite Musikproduktion

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Classical - Released June 12, 2020 | audite Musikproduktion

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Classical - Released May 29, 2020 | audite Musikproduktion

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Classical - Released May 8, 2020 | audite Musikproduktion

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The second album by Franziska Pietsch and her Spanish piano partner Josu De Solaun is dedicated to the multifaceted world of French violin sonatas. With their usual aplomb and artistic intensity, the duo explore emotional landscapes complementing those of their previous album. Moving on from the exuberant revelry, serious tragedy and brutal reality of the sonatas by Strauss and Shostakovich, the musicians are now roving between the poles of dream and reality. Real experiences and emotions are reflected in a visionary dream world, external reality is mirrored internally. Inner emotions and images become reality via the music, triggering new emotions: dream and reality mirror each other. Fauré, Debussy, Ravel and Poulenc create this mirror world in diverse ways. The common theme is the fantastical, the magic of imagination, the poetic distance to reality and the intensive engagement with inner emotions. Thus the dream world becomes a retreat for listeners and artists alike. © Audite
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Classical - Released March 6, 2020 | audite Musikproduktion

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Andrea Lucchesini is discreet and his career is sometimes overshadowed by the other Italian pianists, whose works are more favored by the press. Lucchesini studied under the masterful Maria Tipo. He was one of her most brilliant students, along with Nelson Goerner. In Italy, he performed many concerts and recorded numerous albums. He first achieved recognition with his performance of Luciano Berio’s music, the concerto Echoing Curves in particular that he played under the conduction of the composer himself. Lucchesini also recorded Beethoven’s sonata collection for the label Stradivarius. In recent years, Lucchesini found in Schubert a travel companion that he sometimes refers to as his “true love.” Andrea Lucchesini is fascinated by Schubert and Beethoven, two composers who, at the beginning of romanticism, remained so different. His album, a second volume of recordings, is dedicated to Schubert’s late work. The pieces mark Schubert’s return to sonatas, after a long period of composing lieder. At that time, Schubert and Beethoven lived in the same city. For Lucchesini, Schubert remains a mystery. He left almost no writing. He never settled and no one understood his shyness, constant agitation and latent homosexuality. “Rediscovering his late work has shown me the difference between the artist who entertained his friends and the composer working in solitude, without any hope of being published or performed.” After an album dedicated to the Sonata in A Major, D. 959, Lucchesini returns with Schubert’s ultimate sonata. The composer wrote the piece at the dusk of his life, a life destroyed by sickness and disappointment. Nevertheless, in the midst of tears and sorrows, Schubert still managed to bring smiles into the music. © François Hudry/Qobuz
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Classical - Released February 7, 2020 | audite Musikproduktion

Hi-Res Booklet Distinctions Diapason d'or
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Symphonic Music - Released January 10, 2020 | audite Musikproduktion

Hi-Res Booklet Distinctions Diapason d'or - 5 étoiles de Classica
The series of recordings with Kirill Karabits conducting the Staatskapelle Weimar, continuing a tradition dating back to Liszt's years as Kapellmeister there, have been strongly acclaimed. With this release, listeners can sample a fine performance of one of the major Liszt tone poems, Tasso: Lamento e Trionfo, and hear some lesser-known works. The latter includes a pair of world premieres (for online listeners, at least), which will be motivation enough for perfect Lisztians. The first is the Künstlerfestzug zur Schillerfeier, S. 114, a sort of festive overture composed for a celebration of Schiller's work. This is thoroughly enjoyable, and it's a rare mood for Liszt. That work served as an overture to the melodrama Vor Hundert Jahren, S. 347, a little play with background music showing two characters, Germania and Poesie, being guided by the spirit of Schiller; the music quotes the finale theme of Beethoven's Symphony No. 9, Op. 125, several times along the way. This work was performed previously by Karabits in English with the Bournemouth Symphony, but this reading, available online or as a download only, is apparently the first recording of the original German (the German text does not appear to be available anywhere online). To see what Karabits can really do, sample Tasso, and especially the Dante Symphony, with its gloomy evocation of the Inferno in its opening movement. Karabits's performance of this large work is several minutes longer than average, without dragging in the least: he gets the moody quality that is lost in splashier readings. A very strong Liszt release, with fine sound from the Congress Centrum Neue Weimarhalle. © TiVo
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Classical - Released October 4, 2019 | audite Musikproduktion

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Johann Bernhard Bach's four Orchestral Suites, composed for the court orchestra of the cultured duke of Saxony-Eisenach, are amongst the most varied and sophisticated musical works of the high baroque period in Middle Germany. It was not by chance that Georg Philipp Telemann, a one-time Kapellmeister at Eisenach, commented retrospectively: "I have to praise this orchestra, arranged for the most part according to the French style, for it surpassed the very famous Parisian opera orchestra". From 1703, Bernard Bach was engaged as harpsichordist in this noble orchestra. His Orchestral Suites provide the only surviving "soundtrack" of the illustrious musical life at the Eisenach court during the 1710s and 20s. And what a soundtrack: cosmopolitan, and truly European, with sparkling virtuosic brilliance, as if written by a fiery Italian, whilst displaying the elegant taste of a noble Frenchman. In other words, the "mixed taste", for which the best German composers of the late baroque period were famous, in its finest form. Little wonder then that Bernhard Bach's suites became core repertoire for Johann Sebastian Bach's Leipzig Collegium Musicum, also influencing his compositions. All this provides sufficient motivation for the Thuringian Bach Collegium to continue their exploration through the Middle German courts for their second recording and, with unbridled enthusiasm in their music-making, to bring these jewels of the early Thuringian orchestral music back to life. Bon Appétit! © Audite
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Symphonic Music - Released September 6, 2019 | audite Musikproduktion

Hi-Res Booklet Distinctions 5 de Diapason
This complete edition of the symphonic works of Edvard Grieg is especially convincing thanks to the authentic approach of the Norwegian Eivind Aadland, who strongly influences the interpretations of the WDR Symphony Orchestra Cologne under his direction. The first LP of this series presents two of Grieg's principal collections on 180g vinyl: his first Peer Gynt suite from the incidental music to Henrik Ibsen's drama Peer Gynt, the story of the "Nordic Faust" which inspired Grieg to compose a sonic panorama of the Norwegian character - from the melancholy song Death of Åses to the furious chase in the Hall of the Mountain King - as well as his four Symphonic Dances Op. 64 of 1898, where the composer draws on his experiences as a conductor of the leading European orchestras. The second LP of this Grieg series includes the second Peer Gynt suite, the Funeral March in Memory of Rikard Nordraak as well as the famous suite From Holberg's Time - a homage to Ludvig Holberg, the caustic "Molière of the North" - and Klokkeklang - an almost impressionist study documenting a surprisingly visionary trait of the otherwise rather conservative composer. © audite
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Classical - Released September 6, 2019 | audite Musikproduktion

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The Trio Lirico has programmed three composers who lived and worked on the Eastern side of the Iron Curtain until 1989: for Franziska Pietsch and Sophia Reuter this is music which - paraphrasing Goethe - they "search with their souls". "As children, we both lived in East Berlin and were close friends already", Franziska Pietsch explains about her violist colleague. "We therefore share personal history, a similar style of playing and a similar non-verbal way of communicating about this music. We just feel it". This personal form of perception, into which the Bremen cellist Johannes Krebs blends empathetically, is not irrelevant for this music which becomes accessible not just via the text but also to a high degree via the cultural and political environment in which it was written. Of course Krzysztof Penderecki (b.1933), following the political liberalisation of Polish music from 1956, had the opportunity to tie in with avant-garde developments in the West and to create his very own and unique modernism. On the other hand, his generational colleague Alfred Schnittke (1934-1998) and the older Mieczysław Weinberg (1919-1996) had, until the end of the Soviet Union, to assert their music in the face of massive harassment from the authorities which, in Weinberg's case, went as far as being arrested for anti-Semitic reasons. Born in Warsaw, Weinberg, who fled to the Soviet Union during the Second World War, kept in close contact with his friend and mentor Dmitri Shostakovich. Nonetheless, Weinberg's music is entirely unique, and his string trio of 1950 strikes a balance between popular tunes and references to Yiddish music. Alfred Schnittke, who found it hard gaining acceptance on account of his (Volga) German and Jewish heritage, composed his trio in 1985 for the birthday of his illustrious colleague Alban Berg - and, shortly after completing the work, suffered a life-threatening stroke, retrospectively lending this work a tragic note. The most recent work recorded here is by Poland's most eminent living composer, Krzysztof Penderecki: in 1991 he wrote his string trio as a great improvisation for three performers with a strict and wild fugue. © Audite
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Classical - Released September 6, 2019 | audite Musikproduktion

Hi-Res Booklet Distinctions Diapason d'or
The grace and natural charm of her iridescent, silvery soprano voice was inescapable: Edith Mathis shaped the Mozart sound of her time. But her performances of the Bach passions, Haydn oratorios, as Ännchen in Weber’s Der Freischütz or as Sophie in Strauss’ Der Rosenkavalier were met with equal enthusiasm. She also set the benchmark as a song recitalist, including in the summer of 1975 in her home city of Lucerne. © Audite
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Classical - Released August 2, 2019 | audite Musikproduktion

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In the history of music, György Kurtág is a figure apart. Born in Hungary in 1926, he stood aside from the great ideological movements of his time and created his own personal language in solitude, thinking of music as he put it, "as an ongoing search". But while doggedly independent, he was also a man of culture whose language developed in the shadow of two great teachers: Bartók and Beethoven, the former following on largely from the latter. A champion of the small form, Kurtág also drew inspiration (when he wasn't revisiting them explicitly) from Bach, Schubert and Schumann.This thrilling album offers a journey through the composer's private world, with pieces that take in song (a leitmotif of his oeuvre), violin, cimbalom and double bass – instruments of Hungarian folk tradition.From the poetic highlights of Stsenï iz romana ("Scenes from a novel on poems by Rimma Dalos") sung in Russian, to the Homage to his friend, the painter Berényi Ferenc, this perfectly-performed recording follows the trail of a particularly secret and captivating composer. The Eight Duets for Violin and Cimbalom, Op.4 are taken in hand by a Hungarian virtuoso playing one of his favourite instruments, the cimbalom, which is at once typical of Magyar culture and a link to the medieval psalter. The Seven Songs, Op.22 evoke Japanese haikus through their brevity and content, and conjure up the stunning final image of a snail ascending Mount Fuji. Egy Téli alkony emlékére ("In memory of a Winter evening") is a very expressive and moving rendering of long evenings spent at the fireside.The Russian poet Rimma Dalos summed up Kurtág's personality: "Kurtág always chose the minimalist and the romantic. The poetry of the small form, the aphorism, a weightlessness which is at the same time very weighty. To speak without saying it all, to graze but not break, to penetrate without betraying." We couldn't put it better. © François Hudry/Qobuz

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