Audite Musikproduktion
194 products
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Ludwig van Beethoven: Late Works for Flute and Piano
$20.99CDAudite Musikproduktion
Sep 05, 2025ADT97822 -
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Locatelli: Introduttioni teatrali, op. 4 - Concerto Grossi / Thuringia Bach Collegium
Ingenuity and variety characterise Locatelli's concertos. His Introduttioni teatrali are a veritable firework of musical ideas, contrasts and effects; his Concerti grossi showcase the virtuosity of the soloists. This recording realises the concerti in a small ensemble. This was Locatelli's intention, who played with local ensembles on his travels: an interplay of highly virtuosic, demanding solo passages and simpler tutti passages. The Thuringian Bach Collegium follows on stylistically from the highly acclaimed release of the concertos of Prince Johann Ernst of Saxe-Weimar and continues the series of recordings on audite.
Ludwig van Beethoven: Late Works for Flute and Piano
On Byrd's Wings / Mields, Boreas Quartet Bremen, Hathor Consort
The heyday of English consort music coincides with the exciting change in style from musical Renaissance to early Baroque between 1580 and 1630. William Byrd and his successors played a decisive role in shaping it with sacred and secular songs, fantasies and dances. This production on the 400th anniversary of William Byrd's death shows how diverse and colourful the repertoire of consort music is. On the one hand, the English composers impress with sophisticated compositional art, on the other hand, they take up popular music of their time. The result is musical atmospheres that reflect the deep melancholy, pious confidence and plump joie de vivre of Shakespeare's time.
Werner: Masses & Motets / la festa musicale
An impressive continuation of the documentation of Gregor Joseph Werner's work, which shows Haydn's predecessor at the Esterházy court as a pioneer of further musical development. Gregor Joseph Werner was by no means a mere minor master in Haydn's immediate predecessor - this is already impressively shown by the previously released recordings. Now the newly acquired picture is further intensified: Werner, whose symphonies and instrumental concertos composed for the princely table have been lost, comes to the fore for posterity as a grand master of Latin musica sacra. With his sharpness of character and contrapuntal perfection, he proves to be not only a prerequisite and teacher for Joseph Haydn, the father of Viennese Classicism, but himself a gateway to this stylistic epoch. Werner appears to us today as the spiritual support of the rather profane Viennese Classicism. The recorded masses need in no way fear comparison with Haydn's, Mozart's and Schubert's smaller and middle masses. They unite the greatest contrasts imaginable between instrumental brilliance and polyphonic richness of the vocal. Werner is also the last great master of Palestrina's stile antico. The way in which he updated the imitated motet structure, which was already 200 years old at the time, by increasing the dissonance reveals a hidden power in the development of Western composition.
Treasures - String Trios / Trio Lirico
The repertoire for string trio is comparatively small, but in addition to the relevant works by Mozart, Beethoven, and Reger, it also contains surprising, newly discovered, and newly composed pieces. In the selection of pieces for the current recording, the Trio Lirico has looked off the beaten track with works by Eugène Ysaye, Ernst von Dohnányi, and Zoltán Kodály. The program is completed by a string trio by Péter Eötvös, a haunting memorial composition with a variety of different playing techniques and gestures of sound and expression.
Bach Reconstructed
Debussy, Mozart, Schachtner & Zimmermann: Dialogues across Time / Neeb Piano Duo
With Bernd Alois Zimmermann's Monologues, the piano duo Vincent and Sophie Neeb place a rarely performed masterpiece at the centre of their debut recording. The composer describes his work, first performed in 1965, as "dialogues across the ages of dreamers, lovers, sufferers and praying people", which offers a journey through music history with sophisticated collages.
Following this inspiration, the programme is completed with a contrasting selection of compositions quoted there: Works by Bach and Debussy, creatively arranged for two pianos and percussion by Johannes Xaver Schachtner, and a Mozart arrangement by the piano duo Neeb enter into a unique dialogue via this inner context?
Together with percussionists Christian Benning and Patrick Stapleton, the piano duo Neeb explores surreal dream worlds - playfully light and enigmatically profound at the same time.
J.S. Bach, Rachmaninoff, Reger & Schubert: Sparks of Spirit
On its second CD, the piano duo Neeb presents works that illustrate the beginning of an auspicious period in the life of various composers: Full of creative energy, Max Reger threw himself into creative work after surviving years of health and mental strain. Franz Schubert fared similarly after an attack of syphilis, who, in addition to a permanent position at Esterházy Palace, was even inspired to new creative vigour by a secret love. Johann Sebastian Bach was motivated to write new concert repertoire by conducting the high-calibre Collegium Musicum, while Rachmaninov overcame his depression with the Suite op. 17, which had prevented him from composing for three years after the failure of his first symphony. The piano duo Neeb illuminate these emotional worlds in their intelligent interpretation - with creative imagination and effervescent joy of playing.
Beavers, Debussy, Mendelssohn, Nielsen & Schifrin: Saga
The ARUNDO quintet shines with virtuosic expressiveness and a variety of sounds in the classical lineup of flute, oboe, clarinet, bassoon, and horn. On its second CD, "Saga," the ensemble brings to life four varied worlds of sound that immediately stimulate the imagination. Claude Debussy's colorful re-creations of a bygone ideal, Carl Nielsen's play with the diversity of human characters, and Lalo Schifrin's reinterpretation of the New Orleans style have long accompanied the ensemble and have become part of its own history as "heartfelt pieces." As with the highly acclaimed debut CD, "Origin," the ARUNDO quintet has commissioned a new work from the American composer Kevin Beavers: The "saga" continues…
Burgmüller, Chopin, Schumann & Schuncke: Early Piano Works / Murtfeld
The year 1810 is not only the birth year of Frédéric Chopin and Robert Schumann, but also of Norbert Burgmüller and Ludwig Schuncke. All four composers knew and appreciated each other in the form of artistic inspiration as well as friendly affection. While Schumann and Chopin later achieved world fame with their works, Norbert Burgmüller and Ludwig Schuncke, however, died in their youth and left behind only a small œuvre that is hardly known today. This recording brings together early compositions by Chopin and Schumann with selected virtuoso works by Burgmüller and Schuncke. All the works represent an expression of these young geniuses that is still youthful, sparkling and seeking orientation, yet already manifest due to their precociousness.
Gregor Joseph Werner, Vol. 2 - Requiem
Once again la festa musicale focuses on the music of Gregor Joseph Werner, Kapellmeister and immediate predecessor of Joseph Haydn at the Esterházy court. The second album in the recording series dedicated to Gregor Joseph Werner is characterized by darkly shimmering hues between suffering and redemption. In his Requiem of 1763, Passiontide motets and instrumental oratorio introductions, Haydn’s largely unknown predecessor astounds with his contrapuntal artistry, spirituality and expressiveness. An insider’s tip for church music!
Lotti, Caldara & Vivaldi: Antonio
New discoveries with countertenor Alex Potter and la festa musicale – Three Venetian contemporaries named Antonio - one, Vivaldi, achieved world fame with his concerti. But who has heard of Antonio Lotti and Caldara today? In their time, they were famous composers beyond the borders of Venice, and yet some of their music has lain dormant in archives for over three hundred years. Now selected alto cantatas by Lotti as well as oratorio introductions and an "Ave Regina" by Caldara may reawaken attention: paired with the "Nisi Dominus", RV 608, and two rousing concerti by Vivaldi, the baroque orchestra la festa musicale and the internationally acclaimed countertenor Alex Potter present an album full of virtuoso and touching musical treasures by the three Antonios from the Canal Grande.
Boëllmann, Fauré, Lalo & Saint-Saëns: French Cello / Coppey, Nelson, Strasbourg PO
The present album is a multifaceted homage to French cello music, and features heavyweights of French cello literature, recorded by one of today's leading cellists: from Camille Saint-Saëns' "The Swan," perhaps the most famous cello solo ever, to Léon Boëllmann's Variations symphoniques, combining playful wit with highly original form, contrasted by the sense of tragedy in Gabriel Fauré's Élégie. The two concertos by Saint-Saëns and Lalo represent weighty warhorses of the French cello repertoire which require not only technical mastery but, above all, musical penetration in order to highlight their subtleties. As an advocate of the ars gallica movement, Saint-Saëns included in his first cello concerto several allusions to the French baroque tradition, but also showed commitment to French clarity, turning his back on any bombast which was considered "Teutonic". Lalo's cello concerto, on the other hand, is highly expressive, energetic and very romantic, with the solo cello almost depicting the literary heroes of the time who populated the novels of Balzac, Hugo and Dumas père and fils.
REVIEWS:
A distinguished French cellist and a French orchestra present a fine programme which celebrates the important role of the cello in late 19th century France. This is a shrewd selection: the works by Saint-Saëns and Fauré are familiar, that by Lalo less so, and (outside the organ loft) the music of Léon Boëllmann remains obscure.
I was very glad to discover Boëllmann’s concertante work, as I suspect will be many music lovers. Its thirteen minutes contain plenty of rewarding music, and no note-spinning. The title pays homage to Franck’s piece for piano and orchestra, and it sounds to me almost in the same class as that work.
Is there a finer cello concerto than Saint-Saëns’s A minor? Maybe, but few that are over in less than twenty minutes and offer such opportunities for a skilled cellist. The soloist has a showcase for all the instrument can offer, including becoming a chamber musician, or one who is primus inter pares. Coppey’s playing is impressive. In particular, there is a rapturous quality to his playing of the lyrical music in both of this work’s outer movements. The disc inevitably [also] offers Saint-Saëns’s The Swan. This perhaps best known of all cello works is played here in Paul Vidal’s arrangement for cello and chamber orchestra, and it casts the usual serene spell.
Another arrangement for cello and orchestra, this time by the composer, is Fauré’s noble Élégie, originally a fragment of an abandoned cello and piano sonata. Coppey gives it a spontaneous-sounding account, at times almost improvisatory in feeling. The cellist’s tone and line are deployed in the service of a haunting interpretation, aided by touching flute and oboe contributions from the Strasbourg players under John Nelson, attentive collaborators throughout.
Lalo is best known for a single work, his Symphonie espagnole. His Cello Concerto could well stand alongside it if it received more performances as good as this one. The stormy opening is stirring, and the lyrical passages silken[.]
-- MusicWeb International
Werner: Salve Reginas - Pastorellas / la festa musicale
Storie di Napoli / Ladurner, Heindlmeier, la festa musicale
Kodály: Cellosonaten - Sonaten Opp. 8 & 4 / Coppey, Porat, Kelemen
Ritter, Müller-Hartung, Jadassohn, Sulze, Töpfer: Liszt the Friend & Paragon / Baltrusch
Weimar in the middle of the 19th century, in Franz Liszt's artistic circle: after years as a traveling piano virtuoso, he now devoted himself to composing and conducting. When the city was only feeding off its past greatness under Goethe and Schiller, Liszt re-established Weimar as a musical center of European stature; in the process, he met eminent organ virtuosos who introduced him to the multi-faceted instrument. His large-scale organ works were composed here. In a two-part series of publications, Anna-Victoria Baltrusch first presents compositions from the pens of those organists who reflected Liszt's musical innovations. She will then turn to the master himself in the second part, next month's release.
Poglietti & Schonewolf: Between Spheres
Between Spheres focuses on the sound poetry of the recorder consort. Music of the 17th century interlocks with a contemporary cycle dedicated to the quartet. Both musical spheres have a poetics that captivates the ear and leaves listeners wondering: Where might one epoch end and the other begin? The Boreas Quartett Bremen presents a magical sound of the flute ensemble that switches between worlds of expression with virtuosity: It sounds like birdsong in Poglietti's Rossignolo and Schönewolf's Unter Kranichen, hypnotically occupied with low flutes in the polyphonic Ricercari of the late Renaissance, agile and highly virtuosic in fugue compositions of both epochs. Closely interwoven, the pieces merge and float between the spheres - "between spheres". The recording is the second release of the Boreas Quartet Bremen after the ICMA award-winning album Basevi Codex from 2022.
Un Bal: Dances for Harp solo / Christ
Basevi Codex: Music at the Court of Margaret of Austria / Mields, Boreas Quartett Bremen
Liszt: A Faust Symphony, S. 108; Mephisto Waltz No. 3, S. 216
When Franz Liszt took over the court orchestra in Weimar in 1848, people there lived on the memory of Goethe, who had previously directed the court theatre. Liszt is the direct heir to this renowned stage - but as a musician. With his Faust Symphony, which was premiered on the same day as the dedication of the Goethe and Schiller monument in front of the theatre, psychology makes its way into music; Liszt's ambition was the renewal of music through its more intimate connection with poetry"". The Faust Symphony demonstrates the power of sound, of tone painting, to evoke a fantastic, epic and psychological world. Each movement corresponds to a character whose character and psychology it depicts. This is programme music, but it does not tell a story and is certainly not descriptive music. Liszt describes the profound nature of the characters musically, offering a subtle and analytical interpretation of the story of Faust as told by Goethe. The three character pictures are sonorous psychological tableaux in which Liszt does not simply tell the story of the characters or describe their feelings: He evokes their psyches. Kirill Karabits leads the Staatskapelle Weimar in this repertoire that so defines them."
Ravel, La Tombelle: String Quartets / Mandelring Quartett
Bach and Bartók: Lucerne Festival, Vol. 17 / Anda & Haskil
Lucerne Festival, Vol. 16: Karl Böhm conducts Hindemith & Bruckner (Live) / Vienna Philharmonic
