Ars Produktion
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Palestrina 500
$21.99SACDArs Produktion
Jan 23, 2026ARS38380 -
Vers La Vie Nouvelle
$19.99CDArs Produktion
Apr 30, 2026ARS38688 -
Echoes of now
$19.99CDArs Produktion
May 15, 2026ARS38695 -
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Dangel, A.: Rose-Auslander-Zyklus / Heine-Zyklus / Turrini-Z
Vivaldi: Oboe & Bassoon Concertos
Mozart: Sinfonien and Arien
Rota: Cello Concertos & Il Gattopardo
Requim For Mozart (Hybr)
Antonio Rosetti was born around 1750 in Litomerice, a town in Northern Bohemia, and was originally called Franz Anton Rösler. In 1773 he left this native country and joined the Hofkapelle of Prince von Oettingen-Wallerstein, whom he served for sixteen years. With the retirement of Joseph Reicha in 1785, Rosetti rose to the position of Kapellmeister of Fürstlichen Kapelle and stayed there until 1789, before becoming Kapellmeister to the Duke of Mecklenburg-Schwerin in 1789. Rosetti wrote a great deal of music, including symphonies, concertos and vocal works. He is perhaps best known today for his horn concertos, which Mozart scholar H. C. Robbins Landon suggests may have been a model for Mozart's four horn concerti. Horace Fitzpatrick writes in The New Grove Dictionary of Music and Musicians: 'Rosetti's contemporaries ranked him with Haydn and Mozart'. Rosetti is also known for the Requiem (1776) which was played at a memorial service for Mozart in Prague in December 1791 (the work was originally written as Requiem on the death of the Mrs. Krafft-Ernst in Oettingen-Wallerstein in 1776). This recording presents this work as world premiere recording accompanied by smaller sacred works and the symphony Murray A23.
TRES GENTIL CUER
Palestrina 500
Ukrainian Piano Quintets
The Lost Vieuxtemps
Vers La Vie Nouvelle
Rupert's Tear
Peace
Echoes of now
Christus der Erloser
Romantic Overtures (Hybr)
It was not so much the hunger for self-education and thirst for knowledge about past eras, distant lands and their customs which were the reason for corresponding themes and locations in Romantic opera, but more a type of escapism from the all too mundane and oppressive aspects of everyday life. The overtures in particular provided plenty of space for vivid imagination, as their purpose was to direct the fantasy of the listener in a particular direction without having to focus specifically on the concrete rigidities of the plot as subsequently depicted on the opera stage. The Württembergische Philharmonie Reutlingen under the direction of Ola Rudner present a selection of lesser known examples of Romantic overtures on this recording.
SONGS WITH WITHOUT WORDS
Schumann: Piano Works
Scandinavian Choir Music
Mozartovic!
Blech aus dem Westen, old friends.
Dowland: Awake Sweet Love
Poems & Pictures
Apassionato: Beethoven / Donka Angatschewa
Mendelssohn & Hensel: Duette / Tchakarova, Erb
On their latest recording Felicitas Erb, Judith Erb and Doriana Tchakarova present all the duets composed by Fanny Hensel and Felix Mendelssohn. Fanny Hensel’s and Felix Mendelssohn’s parallel journeys as composers began with the two songs they composed for their father’s birthday in 1819. On that occasion, the two siblings created settings of the same text, a situation that occurred several times over the course of their compositional careers. It can be seen as the beginning of their close artistic liaison as well as, possibly, their rivalry as composers. This release sheds a light on the interesting relationship between these two talented composers, and the programme is a fascinating juxtaposition of the two.
Late Romantic Christmas
On their new recording ,,A late romantic Christmas Eve" the ensemble Le Quatuor Romantique plays the music like it might have been performed in the home of a large, middle-class family around 1900, particularly focusing on the exciting, colourful melodies, breaking pensive moments with cheerful episodes only to question them again, experiencing childlike delight as well as darker thoughts. And as Christmas is also a time for carolling and singing, Quatuor Romantique invited Elena Fink to interpret some of the enchanting as well as the rare Christmas carols which used to be at the heart of the late Romantic repertoire but which are often completely forgotten and disregarded today.
