This recording is the first of a collaboration between Rene Jacobs, the Kammerorchester Basel, the Zurcher Sing-Akademie and Alpha Classics and will involve the release of four albums between 2025 and 2028; the first of these is the Missa Cellensis, then three albums devoted to Haydn's last six masses. Haydn was commissioned in 1766 to write a Missa Solemnis, the Latin term for a fully scored mass with trumpets and timpani; it is the third and largest of Haydn's fourteen masses. It was under this erroneous name that the 1766 Missa Cellensis remained known until 1975, when a fragment of the autograph score containing the title page, Kyrie I and Christe was found in Bucharest and revealed that Haydn had in fact composed two Miss� Cellenses. It is the first of these (1766) that is recorded here. Rene Jacobs puts all his expertise and enthusiasm at the service of this music that he loves so much, in collaboration with soloists with whom he works regularly, an orchestra that is also a longstanding partner, and the remarkable choir of the Sing-Akademie of Zurich.

France was on the brink of revolution and Haydn was at the height of his international fame. These flamboyant quartets were written especially for the lucrative Parisian market, where quatuor brillant was becoming increasingly popular. The style is dazzlingly virtuosic and Stefan Arzberger shines with Haydn's most brilliant, high-flying, concerto-like passages, leading this remarkable ensemble's captivating interpretation with admirable aplomb.

The selection on this CD is a cross-section of the composer's successive creative phases. Haydn composed keyboard music over about four decades (ca. 1755-1796). In his day, the word "Clavier" was used as a generic term for various keyboard instruments that coexisted, namely the harpsichord, the clavichord, and the fortepiano (Hammerflugel).�Although on this recording I have decided to record all works on a modern grand piano, I found it important to take into account which instruments these pieces were intended for when deciding on matters of interpretation and performance. (Schaghajegh Nosrati)

Recorded live at Boston's magnificent Symphony Hall, CORO brings together on one album the Handel and Haydn Society's recordings of Haydn's early Symphonies Nos. 6, 7 & 8. Known as Le matin, Le midi and Le soir, the three works, written shortly after Haydn joined the court of Prince Paul Anton Esterhazy, are amongst the most striking of the composer's early symphonies. Characterised by unusual virtuoso writing across the orchestral ensemble, all three works feature extensive solo passages for the wind, horn and strings, including rare solo writing for the�double bass�and�bassoon, and demonstrate Haydn's emerging skill as a master of symphonic writing.

The selection on this CD is a cross-section of the composer's successive creative phases. Haydn composed keyboard music over about four decades (ca. 1755-1796). In his day, the word "Clavier" was used as a generic term for various keyboard instruments that coexisted, namely the harpsichord, the clavichord, and the fortepiano (Hammerflugel).�Although on this recording I have decided to record all works on a modern grand piano, I found it important to take into account which instruments these pieces were intended for when deciding on matters of interpretation and performance. (Schaghajegh Nosrati)

Haydn's Passiontide masterpiece in it's string-quartet version, with the Latin inscriptions to each movement intoned as a liturgical preface. Invited to compose reflections on the Seven Last Words for a Good Friday service to be held in Cadiz in 1787, Haydn originally wrote a cycle of pieces for chamber orchestra. Ever practical, he soon adapted the piece for string quartet, and then as a vocal oratorio, while also authorizing a solo-piano arrangement for publication. Thus widely disseminated, the Seven Last Words soon became widely performed and recognised as Haydn at his most inspired. For all that the form of the work - seven slow movements capped by an Presto evoking the terrible effect of the earthquake which had reduced Cadiz to rubble just a generation earlier, in 1755 - promises more solemnity than variety on paper, Haydn takes his cue from the texts which have come down to us as Christ's final phrases. Thus the melodies for each movement have their own, specifically vocal contour, while the accompaniments graphically evoke the agony, the loneliness but also the peace and serenity which these phrases embody. While quartet performances of the Seven Last Words are probably more frequently encountered than any other version, they lose sight of this specific, spiritual context to Haydn's fervent and devout inspiration. The present, new recording restores that connection between text and music. As an ensemble resident at the Duomo in Milan, this fine quartet of Italian musicians is in any case well practised in striking the balance between solemnity and drama in such music. For the sake of clarity, however, they have made this recording in a modern studio. Away from the cathedral, the musicians of the quartet (violinists Andrea Pecolo and Stefano Lo Re, violist Matteo Amadasi and cellist Alfredo Persichilli) are all permanent members of the Orchestra of La Scala. Bringing both dignity and authority to the inscriptions, Aldo Cazzullo is an experienced Italian reporter and journalist, and current deputy managing director of the Corriere della Sera.

Haydn: An Imaginary Orchestral Journey

SYMPHONIES NOS 68 & 93 - 104

HAYDN EXPERIENCE: 29 JOYOUS TR

Haydn: Concertos pour violoncelle

Haydn's Symphony No. 31 from 1765, known as the 'Horn Signal', lends it's name to this 13th volume of the Haydn 2032 series. Not only does the symphony feature four horns in their full majesty, but the entire ensemble of Il Giardino Armonico, directed with ardour by Giovanni Antonini, perform this music with characteristic impetuousness. The numbered vinyl recording that accompanies this volume includes a musicological introduction, a CD of the same programme, and a download code (like every vinyl release in the Haydn 2032 series). This particular volume also includes a catalogue of all the recordings already released and gives us another opportunity to admire the images taken by the photographers of the Magnum agency, our partner from the outset of the series.

A few years after a complete recording of Mozart’s solo piano works that has gradually come to be regarded as a benchmark, Kristian Bezuidenhout has taken all the time he needed to tackle Haydn, the other towering figure of the Viennese Classical keyboard repertory: “Preparing for this recording has been a vivid reminder that it is remarkably difficult to play Haydn’s music well, but that with enough care, and attention to detail, his music has the potential to come jumping from the page. It would be hubris to suggest that I am even close to unlocking any of its secrets, but I am so humbled by the sheer beauty, humanity, wit and delightful irony of this music, that the desire to continue is irresistible.”

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REVIEW:

The listener is drawn in by the myriad subtleties of Bezuidenhout’s playing and by the glorious sounds he draws from his instrument. Soon you’re hanging on every note of this sequence that seems to travel from darkness to darkness. Most important, though, is Bezuidenhout’s playing itself. Technique is obviously not an issue. Decoration, too, is sparing rather than trowelled on. This is the very opposite of ‘look-at me’ pianism.

– Gramophone

Per il Luigi is the 17th volume of the complete Haydn 2032 collection and presents a number of Haydn's earliest symphonies; these had been composed to display the talent of the musicians who had joined the Esterhazy court orchestra during the same period as Haydn himself. The centre of the programme is the Symphony No. 13 in D major from 1763, whose orchestration includes four horns and whose final movement features a prefiguration of the famous theme of Mozart's 'Jupiter' symphony, to be composed twenty-five years later. The violin concerto in C major is marked fatto per il Luigi in Haydn's catalogue of works and was dedicated to Luigi Tomasini (1741-1808), a violin virtuoso born in Pesaro and a friend of Haydn. Two centuries later, the young Baroque violin virtuoso Dmitri Smirnov now brilliantly champions this repertoire with the Kammerorchester Basel under Giovanni Antonini.

Following the release of the first three quartets of the Op. 33 set in May 2023 [BIS-2588], a recording that was hailed by critics for it's 'extraordinarily faithful reading that goes straight to the heart of the works' (Diapason) and won numerous awards (including a Diapason d'or, Choc from Classica and Supersonic from Pizzicato), the Chiaroscuro Quartet presents the last three quartets in this set. Having already recorded Op. 20 and Op. 76, this ensemble, whose unique sound has been described as 'a shock to the ears of the best kind' (The Observer) here continues it's historically informed and illuminating journey through Joseph Haydn's string quartets, a long- term project that started in 2020. Dubbed the 'Russian Quartets' and dedicated to the Russian Grand Duke Paul, the future Tsar Paul I, these works show Haydn at his most eccentric and non- conformist. For this set, Haydn felt the need to write music more in keeping with the public's lighter, more 'popular', less 'scholarly' tastes, with a livelier sense of rhythm. With their stylistic advance over the preceding quartets, it can be said that in real terms they mark the birth of the classical quartet genre. Mozart drew inspiration from them for his own quartets 'dedicated to Haydn'.

The new album by pianist Ragna Schirmer tells the story about the blind composer Maria Theresia von Paradis. Louis Braille invented the tactile writing system for Maria Theresia in 1824/25. Ragna Schirmer plays on an original replica of a grand piano from the composers' time, built by the Greifenberger Institut. Maria Theresia's contemporaries Mozart and Haydn accompanying the repertoire list.