After her highly appraised debut CD with French Music for cello and piano, Harriet Krijgh presents her virtuosity and technical finesse with the new recording of both Cello Concertos by Joseph Haydn. Harriet Krijgh was born in the Netherlands in June 1991 and received her first cello lessons at the age of five. In 2000 she was admitted into the preparatory young talent class of Lenian Benjamins at the Conservatory of Music in Utrecht. In 2004 Harriet moved to Vienna, where she continued her cello studies with Lilia Schulz-Bayrova and Jontscho Bayrov at the Konservatorium Wien Privatuniversität. In June 2012 Harriet will have her own festival at Burg Feistritz in Austria. The event marks the launch of the annual “Harriet & Friends” Chamber Music Festival, where she will play select works with musicians from around the world.

Christian Jost is considered one of the most sought after composers of his generation. His operas are included in the repertoire of opera houses throughout Europe and his compositions for orchestra have been performed repeatedly around the globe. In 2009 his opera Hamlet was voted “Best First Performance of the Year” in Germany, Austria and Switzerland.

Born in Taipei in 1950 Shih moved to Vienna at the age of 24 to study composition and the harp at the University of Music and Performing Arts. Shih’s compositional style, which has its origin in the fusion of Western music tradition and Far Eastern philosophy, draws the attention away from superficial effects to the subtle inner structure…to the depths of the human mind.

Austrian tenor Jörg Schneider started his career in 1995 as member of the Staatstheater Wiesbaden, and from 1997 to 2000 he was a member of the Deutsche Oper am Rhein Düsseldorf. His roles include Belmonte in “Entführung” under the baton of Zubin Mehta in Tel Aviv, “Kantate auf den Tod Haydns” from Luigi Cherubini under the baton of Riccardo Muti and Flamand in “Capriccio” opposite Renèe Fleming.

Ukranian pianist Olena Kushpler is considered to be ‘a great story-teller’. Audiences and critics alike greet her performances regularly with warm enthusiasm and exceptional praise. She is the perfect artist medium for the works of early 20th century Spanish composer Frederic Mompou Dencausse, whose defined artistic goal was ”to achieve a maximum level of expressiveness with a minimum of means

Capriccio presents a re-release of Beethoven repertoire for voice and piano featuring baritone Hermann Prey and soprano Pamela Coburn. This special priced 3 CD set includes rarely recorded pieces such as 8 Lieder op.52, Lobkowitz-Cantata and Der Jüngling in der Fremde.

This full-length work is among Scarlatti's most mature compositions and is certainly the most representative example of the type of passion music cultivated in Italy.This genre is based on a completely different conception to that of Bach's passion music. His stylistical language was typical and had a determining influence on the period between the early baroque style of Monteverdi, Cesti and Cavalli and the development of the "galant" style of his pupil J.A. Hasse, which leads directly into the classical period.

No one has described Pergolesi’s vocal works more splendidly and with more understanding than the philosopher and pedagogue Jean-Jacques Rousseau, author of the Dictionnaire de musique that was extremely widespread in the 19th century, when he wrote: "Here everything contributes to deepening the effect of the text: the harmony serves only to shape it more forcefully, the accompaniment embellishes it without distorting it. In a word, the whole work of art simultaneously communicates one melody to the ear and only one idea to the mind.“ This CD offers 3 Masterpieces recorded by the long time Duo Regina Klepper and Martina Borst, accompanied by the Bamberg String Quartet.

Despite the rich tradition provided by the former genre of the Passion of Christ set to music, only two works have been able to establish temselves permanently - the two monumental Passions by Johann Sebastian Bach. The Passion Oratorio by Johann Ernst Bach, the nephew, godson and pupil of Johann Sebastian, is one of the lesser-known works. With his explicit commitment to sacred music, Johann Ernst Bach occupies an extremely isolated position among the Protestant German composers of the second half of the 18th century. Although the religious works of both Telemann and J. S.Bach were, in his opinion, "admirable masterpieces", he strongly criticized the decay of sacred music during his own generation and demanded that this be counteracted by "artistic and regular styles of composition".

"The genius of the musician subjects the whole universe to his art ... So if you wish to know if any spark of this consuming fire burns in you, then fly in haste to Naples and hear the masterpieces of Leo, Durante, Jomelli and Pergolesi.“ (Jean-Jacques Rosseau, 1767). Alongside masterpieces of Antonio Vivaldi, this 2CD-Set includes rarities of neapolitanian composers, like Francesco Durante or Leonardo Leo. These compositions are rediscovered and recorded by the musicians of Concerto Köln with worldwide appreciation and honor.

Ensemble xx.jahrhundert was founded by Peter Burwik in 1971 and includes members of leading Viennese orchestras and freelance instrumentalists. Its goal is to promote 20th century music and to support contemporary creative works. Ensemble xx.jahrhundert performs at the highest standards and sound quality associated with ‘Viennese musical culture’ worldwide.

After the successful release of the Original Motion Picture Score „Metropolis“ (Capriccio CD C5066) here is another Masterpiece of the „Stummfilm-Era“. Again in Co-Operation with the German Television ZDF and ARTE this movie is now completely renewed as a movie and with a completely new recorded soundtrack after the original score by the composer Edmund Meisel (1894-1930). Film Music Expert and conductor Frank Strobel delivers a full range and deep impressive soundtrack with the Radio-Sinfonieorchester Berlin for the new TV-, Cinema-, and CD-Version.

On his fourth recording in two years, tenor Daniel Behle performs Strauss’ lieder: “I am a lyrical Tenor and as such, one just gets introduced to the Schöne Müllerin, later to the Dichterliebe and eventually to the Winterreise (although I allow myself more time for that one) in the course of one’s studies. At the moment I am quite happy to have opened another page besides the lightly lyrical: to dip into the late romantic era and to discover the outgoing, active and hands-on aspects of the period.”

For decades, Fritz Kreisler left the music world under the misapprehension that he had found compositions by Cartier, Couperin, Dittersdorf, Padre Martini, Porpora, Pugnani, Stamitz or Vivaldi in monasteries and castle archives and arranged these himself for violin and piano. He left questions as to the original sources unanswered. At sixty, he publicly and freely admitted that he had played a superb joke around thirty years before: he had concealed most of his own works behind the names of masters of the 17th and 18th centuries. Many of these initially controversial compositions have become staples for violinists today.