Your basket is empty

Categories :

Albums

From
CD$14.99

Classical - To be released June 4, 2021 | haenssler CLASSIC

Booklet
From
CD$19.99

Classical - To be released May 28, 2021 | haenssler CLASSIC

Booklet
From
HI-RES$14.99
CD$9.99

Classical - Released May 7, 2021 | haenssler CLASSIC

Hi-Res Booklet
“My commitment to the present new recording is not only important because of advanced ensemble techniques, but also because I believe that with a cast of soloists, as in the sixteen-part Hora est, transparency of the polyphonic movement can be achieved that is not so readily feasible with larger forces. A prerequisite here is the existence of ensemble capabilities among vocal soloists, as we also need it for earlier music. In any case, the vocal works which are also particularly interesting to me among those Mendelssohn composed for the Sing-Akademie are those of stylistically ambiguous definition, in which the composer, inspired by the example of the old masters, looks for – and finds – his own path. Our conception of being able to cast soloists from a chorus, as in the Te Deum, is also influenced by this model“. (Frieder Bernius) © Haenssler Classic
From
HI-RES$14.99
CD$9.99

Classical - Released April 16, 2021 | haenssler CLASSIC

Hi-Res Booklet
“Masterpieces are irreplaceable with their timelessness. I still clearly remember when, for the first time, I heard a couple of bars in the last movement of Beethoven’s Opus 109 – it was about 20 years ago and I felt deeply touched and captured at that moment... It was something truly indescribable to me. I have always believed that I should only record pieces of music to which I feel strongly attached. I felt that this composition would grow as if it were an extension of my own musical language. It is now very clear to me that Opus 109 will always be the music to accompany me through all the ups and downs of life, and the same is also true for Opus 111. It has to be admitted that I totally fell in love with the variations to be found in Opus 111. I desperately wanted to be part of that particular world encompassed by the fragile and sublime colors which are to be found between the “pp and ppp (“very quiet” and “extremely quiet”) parts of the work, which permeate the whole special atmosphere. It seems as if one is being driven towards infinity - somehow it might even take one to a sublime place without conflicts, pain and evil“ (Haiou Zhang) © Haenssler Classic
From
HI-RES$14.99
CD$9.99

Classical - Released April 16, 2021 | haenssler CLASSIC

Hi-Res Booklet
From
CD$9.99

Classical - Released April 16, 2021 | haenssler CLASSIC

Booklet
Brilinsky’s intention is "not to emphasize technique, but rather sound, and above all the magnificent music must be paramount. Polyphonic like Bach, Ysaÿe also gives a specific stylistic portrait of each of the six violinists the sonatas were composed for". Ysaÿe knew them all personally; several were associated with the Vienna Philharmonic, as he himself was, thus bringing together different European schools of violin playing. Maxim Brilinsky does not, however, approach all the great technical demands, the subtleties and individual portraits, solely in consideration of the expressive virtuosity of their dedicatees. Further highlighting association with the Vienna school, Brilinsky plays a violin made in 1862 by the Vienna luthier Gabriel Lemböck, who was also responsible for string instruments of the Vienna Philharmonic Orchestra, founded in 1842. © Haenssler Classic
From
CD$9.99

Classical - Released March 19, 2021 | haenssler CLASSIC

From
CD$9.99

Chamber Music - Released March 19, 2021 | haenssler CLASSIC

Booklet
Commanding a vast repertoire of more than 100 concertos for piano and orchestra by Spanish composers (Granados, Malats, Albeniz, Blancafort, Falla, Cassado, J. Gomez, E. Serrano, Molleda, etc), and others (including Astor Piazzolla, Xaver Scharwenka, Nikolai Medtner and Ignaz Paderewsky), Melani tenaciously champions the little known and often neglected hidden treasures of Spanish and International Classical Music repertoire, showcasing them in his performances as a solo pianist, in Chamber Music, and as an orchestral conductor. Now he releases unknown Spanish Piano Concertos. Recognized as “one of the world’s elite virtuous musicians” by international critics (“The Daily Telegraph” – 1997, London), Melani Mestre studied music at the Superior Municipal Conservatory of Music of Barcelona. © Haenssler Classic
From
HI-RES$14.99
CD$9.99

Classical - Released February 5, 2021 | haenssler CLASSIC

Hi-Res Booklet
From
CD$39.99

Classical - Released February 5, 2021 | haenssler CLASSIC

Booklet
Long recognized as one of this century's great pianists, Ivan Moravec's performances and recordings alike have prompted critics in search of parallels to call up such names as Gieseking and Richter. Yet his musicianship, while it challenges comparison with these masters, is rivetingly and penetratingly individual in style. Ivan Moravec was born in Prague in 1930 and until the age of 15 his main musical interest was in opera. He later studied piano at the Prague Conservatory and the Prague Academy, performing during his student years in Poland and Hungary. In 1957, pianist Arturo Benedetti Michelangeli heard Mr. Moravec perform in Prague and invited him to Italy for further study. In 1959 he made his London debut. Ivan Moravec made his American debut in January 1964 with the Cleveland Orchestra and George Szell at Severance Hall; the following month, he made his New York debut at Carnegie Hall. In Europe, Mr. Moravec was welcomed regularly as recitalist and concerto soloist in the major music capitals. © Haenssler Classic
From
CD$9.99

Chamber Music - Released February 5, 2021 | haenssler CLASSIC

Booklet
East West explores musical landscapes from the European and American parts of the globe, resulting in a kind of travel journal that begins in Eastern Europe and then travels westward Duo Aliada is known for their creative approach to adapting classical repertoire for their own instruments. Polish saxophonist Michal Knot and Serbian accordionist Bogdan Laketic formed the duo in 2013 in Vienna, a city whose rich musical tradition reflects its history as a crossroads between Eastern and Western Europe. The following years brought Michal and Bogdan to performances around the world, and into contact with various cultures and musical traditions. This wide range of experiences, beginning all the way back with their childhoods in Eastern Europe, is a major source of inspiration for their music making and for this album. © Haenssler Classic
From
HI-RES$14.99
CD$9.99

Classical - Released January 15, 2021 | haenssler CLASSIC

Hi-Res Booklet
The present release is the third volume in pianist Jean Muller’s "Mozart Piano Concerto Project", and features the Sonatas No. 10, No. 2, No. 8, and No. 16. Muller has performed Mozart’s complete piano sonatas in concerts across the globe, on stages like the Shanghai Oriental Art Center in 2016 and the Salle Cortot in Paris in 2018/2019. He receives outstanding reviews from the industry’s leading media (BBC Music Magazine, Classica, Concertclassic, Diapason, Fanfare, Fono Forum, Gramophone, International Piano, Pizzicato, ResMusica, Stereoplay etc.) and has been a featured cover artist for International Piano Magazine. © Haenssler Classic
From
HI-RES$14.99
CD$9.99

Classical - Released January 15, 2021 | haenssler CLASSIC

Hi-Res Booklet
The Stuttgart Philharmonic, founded in 1924, is in its 6th year under the busy Israeli conductor Dan Ettinger. His regular work at almost all of the leading opera houses in the world makes his approach to the melodies of Tchaikovsky and Rachmaninoff just about perfect." (American Record Guide) The present album is a showstopping production of Tchaikovsky’s Fourth Symphony paired with Rachmaninoff’s Piano Concerto No. 2. The featured soloist in the concerto is Alexander Korsantia, one of the leading pianists of our time. He has been praised for “piano technique where difficulties simply do not exist.” (Calgary Sun). His recordings of works by Beethoven, Prokofiev, Rachmaninoff, and Copland have won multiple awards.
From
HI-RES$14.99
CD$9.99

Classical - Released January 15, 2021 | haenssler CLASSIC

Hi-Res Booklet
“The pupil Beethoven was here!” – the young piano virtuoso Ignaz Moscheles caught sight of this sentence in block letters on a note in the house of his teacher Antonio Salieri, Kapellmeister to the Viennese court. “A man like Beethoven still has something to learn from somebody like Salieri? How much more do I!” thought the fourteen-year-old acolyte of the arts and ardent admirer of Beethoven. It is indeed noteworthy that Beethoven, who by 1808 was already widely acknowledged as a genius, was still ready to take advice from Salieri. The two musicians must first have met in the mid-1790s; Beethoven made his first appearance as a soloist in Vienna in March 1795 with a piano concerto of his own that Salieri conducted. He was already known as a virtuoso and instrumental composer, but had yet to make his mark in the prestigious genre of opera. Beethoven began at that time to pursue his goal of employment in the operatic sphere and was evidently aware of his relative lack of experience in the field of vocal music. Salieri for his part was Vienna’s unchallenged authority on the subject and had been so for decades. The sociable and well connected maestro never charged his students, and Beethoven made good use of the offer of free lessons over the years. He thanked Salieri for his generosity by dedicating his Op. 12 Violin Sonatas to him and by composing a set of variations on a Duettino from Salieri’s opera Falstaff ossia Le tre burle. © Haenssler Classic
From
HI-RES$14.99
CD$9.99

Choral Music (Choirs) - Released January 15, 2021 | haenssler CLASSIC

Hi-Res Booklet
Sagas, myths, vast realms. Snow-capped mountains, dark forests and an overarching stillness and peace. The cultures of Scandinavia have always exerted a huge fascination over people. Scandinavian music is often purported to possess a mystical and “typically Nordic” sound, and even if such a causal association cannot be applied in too much of a sweeping generalization, there are nevertheless frequently recurring characteristics: in particular, in the post-war generation there developed in Scandinavian choral music a strong orientation towards folk music and folk songs; choral singing became a significant medium of expression in middle-class music circles. The important relationship between human beings and Nature – as a result of the strong influence in Scandinavia of the changing seasons on people’s everyday lives – along with fundamental questions about life and death were ever-present topics in those countries’ choral music. Using modern-day musical resources, many works emerged in vernacular style and the boundaries between the art song and the folk song became blurred. Contemporary trends developed swiftly, the human voice was deployed in far more diverse ways than ever before: speaking, screaming, clucking, whistling and so on all took on equal weight within Scandinavian choral music together with improvisation and the use of empty syllables. Novel sounds and unusual scores were soon setting the tone and new standards on the Scandinavian choral scene began leading to a continual professionalisation that was to make waves across all of Europe. © Haenssler Classic
From
HI-RES$14.99
CD$9.99

Classical - Released January 15, 2021 | haenssler CLASSIC

Hi-Res Booklet
From
CD$9.99

Classical - Released November 20, 2020 | haenssler CLASSIC

Booklet
This Cannabich will doubtless turn heads with its exploration of the terrible Atrides family in the form of a melodrama which brought music to an acclaimed text. This genre, often regarded as a hybrid form inspired by classical Greek drama, thrives through its mediation between theatre and opera.Invented by Jean-Jacques Rousseau and his friend Horace Coignet (a merchant embroiderer and Lyonnais amateur musician) with Pygmalion (created in Lyon in 1770), melodrama came to take over all of Europe, most notably with Georg Anton Benda who became one of the genres most revered composers. The genre impressed Mozart who became very attached to the scores for Ariadne auf Naxos and Medea which served as models for his Thamos, king of Egypt and Zaïde. Beethoven is also remembered for his staged musical work Egmont which ended with a long melodrama.It is once again Frieder Bernius who delivers us this Electra by Christian Cannabich, composed in 1781. This most excellent Mannheim School Kappellmeister (at the time a popular symphony, ballet and chambre music writer) composes music that is incredibly descriptive and attentive down to the slightest details in the libretto that are reflected through five scenes that represent diverse moments in history. One can notice changes in environment and imitations of sounds from the natural world. All is achieved through his usual expressive arsenal: syncopated rhythms, expressive chromatism and great, dynamic contrasts. © François Hudry/Qobuz
From
CD$19.99

Classical - Released November 20, 2020 | haenssler CLASSIC

Booklet
The Te Deum is a Latin Christian hymn that dates to the third centuries A.D. Its name is derived from its incipit, Te Deum laudamus, Latin for “Thee, O God, we praise.” Originally ascribed to Saint Ambrose or Saint Augustine, the hymn has been transcribed hundreds of times over by composers throughout history. The present release is a collection of some of the most popular Te Deum compositions from the last several hundred years, from Baroque to Contemporary, with works by Braunfels, Berlioz, Dvorák, Bruckner, Naumann, Händel and Bizet in reference recordings of leading orchestras and soloists, including the Staatskapelle Dresden, WDR Sinfonieorchester Köln, Bach-Collegium Stuttgart, and Gächinger Kantorei. © Haenssler Classic
From
HI-RES$22.49
CD$14.99

Classical - Released October 23, 2020 | haenssler CLASSIC

Hi-Res Booklet
For over 60 years, repeated efforts have been made to capture on sound carriers Robert Schumann’s complete works for piano solo, a fascinatingly broad and varied spectrum ranging from highly virtuosic pieces for the concert hall and valuable literature for teaching purposes. This attractive and yet challenging assignment was not always approached with the necessary intellectual rigor, quite apart from any purely artistic shortcomings, and so none of these sets can justly be deemed “complete”. Schumann had published a string of works (Impromptus Op. 5, Davidsbündlertänze Op. 6, Etudes symphoniques Op. 13, Concert sans orchestre or Sonata in F minor Op. 14 and Kreisleriana Op. 16) in two more or less divergent versions, so that it is highly questionable whether an edition can be labelled “Complete Recordings” if it only contains one of those versions or worse still, makes a misguided attempt to combine two of them. Meanwhile, works that were published at remote locations or remained unpublished, along with fragments that could easily be completed without resorting to audacious speculation, have hitherto been taken into account only in exceptional cases. The first true complete recording of Robert Schumann’s works for piano solo on in fifteen volumes, played by Florian Uhlig, seeks for the first time to offer imaginative compilations on album (e.g. “Robert Schumann and the Sonata”, “The Young Piano Virtuoso”, “Schumann in Vienna”, “Schumann and Counterpoint”, “Variations”) containing all original works for pianoforte written between 1830 (Abegg Variations Op. 1) and 1854 (Geistervariationen) according to the newest critical editions and/or first editions. Several of these albums include premiere recordings. The booklets by Joachim Draheim, who discovered and/or edited a number of the works, shed light on the biographical and musicological background to the works thus coupled. © Haenssler Classic
From
CD$69.99

Classical - Released October 23, 2020 | haenssler CLASSIC

Booklet
Unlike Johann Sebastian Bach, one of the supreme composers of the high Baroque, Handel was not by profession a church composer. He did write a number of anthems and smaller sacred works and invented the English oratorio, a hybrid of sacred and secular elements that assures his renown in sacred music, particularly through a single work of that genre, Messiah. Messiah bookends this ten-album set, with a which begins with the original, and ends with Mozart’s arrangement of the work. Also included are Saul, Alexander’s Feast, Belshazzar, and Dettingen Te Deum. These reference recordings are presented by the biggest names of baroque music scene: Karl Richter, Helmuth Rilling, Ulrich Stötzel. © Haenssler Classic