Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

SOMM Recordings is pleased to announce Leon McCawley's Second Volume of Piano Sonatas by Franz Joseph Haydn. McCawley's admired first volume, pairing Haydn's Sonatas and Variations, received a coveted Diapason d'Or for playing of "great intelligibility and sensitivity". Sonata No.60 from Volume I has been selected by Diapason to appear on it's next album, Les indispensables de Diapason, featuring six Haydn sonatas played on different keyboards. In his authoritative booklet notes, Bryce Morrison makes a persuasive argument for the Piano Sonatas in "celebrating Haydn's endless innovation, richness and variety and, most importantly, his humanity". Those qualities are brilliantly realised by McCawley in six sonatas spanning 25 years. Caught on the cusp of youth and maturity, Sonata No.19 is a work of lyrical and dramatic contrasts with a unique structure and surprising innovation. At odds with the inherited image of Haydn as a prankster, Sonata No.47 inhabits a dark, even menacing world that concludes in abrupt savagery. The Bach-accented Sonata No.50 is a work characterised by scintillating writing, Sonata No.54, in Morrison's memorable phrase, "falls like balm on the ear". Ushering in new approaches and radical thinking, two late Sonatas - Nos. 58 and 59 - show Haydn anticipating Beethoven with prescient command of tone and combustible technique. Leon McCawley's previous recordings for SOMM have received wide critical praise. Gramophone hailed his complete Rachmaninov Preludes as "a distinguished issue", and the "superb collection" of Samuel Barber's piano music was an Editor's Choice. Fanfare described his playing of Brahms as "music-making of a very high order" with International Record Review adding: "When all is said and done, it is difficult to know whether McCawley's refined piano playing, his natural yet cultivated musicality or his boundless imagination warrants the greater praise. You must hear the recording."

Bernd Glemser is "the German piano magician of his generation" (Badische Zeitung) and for years has counted amongst the ranks of the most internationally renowned pianists. Already in youthful years he attracted attention when he won literally all of the prizes that could be won in the piano competition scene. Glemser has recorded an astounding 35 albums and has participated in countless radio and television productions.

Legendary voices like Ingeborg Danz and Andreas Schmidt + Re-release of a CLASSIC bestseller + "A great deal in it's favor" (Gramophone)

The Handel and Haydn Society continues it's acclaimed Haydn exploration on CORO with one of the composer's last major works - the dramatic and sumptuous Mass in B-flat major more commonly known as the 'Harmoniemesse' because of it's use of a full wind band. It is accompanied on this album by the Symphony No. 99 in E-flat major - one of Haydn's twelve 'London' symphonies composed between 1791 and 1795 when London was the indisputable musical capital of Europe. Handel and Haydn Society is America's oldest continuously operating arts organisation. Harry Christophers has been Artistic Director since 2008 during which time the Society has released 12 recordings on CORO including Haydn's Creation, all six of his 'Paris' Symphonies, Mozart's Requiem and Handel's Messiah, and a Christmas album - 'Joy to the World' - celebrating America's favourite festive tunes.

Bart Van Reyn and Le Concert d'Anvers delve into two of Joseph Haydn's lesser-known symphonies. Dating from the autumn of 1784, when Haydn was nearing the end of his employment at the Esterh�zy court, both seem to anticipate the Paris symphonies that would shortly follow. Having been largely overlooked by historically informed performance specialists, Van Reyn's reading highlights the pair's mutual sense of artistic ambition, drawing out their concise but powerful musical drama. These are accompanied with Haydn's effervescent Piano Concerto in D major, featuring Belgian fortepianist Lucas Blondeel. Blondeel demonstrates his clear affinity with Haydn's solo writing, rendering a performance that captures the concerto's elegance while always sparkling with it's composer's characteristic wit.

The early 1780s saw the passion for Haydn across Europe reach it's first peak. Ten years later, the composer was considered the most important of his day. In places noted for their music, his latest works sold like hot cakes. And even out in the country, far from fashionable towns and cities, there was an insatiable demand for whatever he had just written. The small North Swabian principality of Oettingen-Wallerstein was no exception. Prince Kraft Ernst, who extravagantly maintained a court ensemble then regarded as one of the best in the German nation, was unstinting in his admiration of the composer and compiled an extensive collection of his works. At the beginning of 1788, Kraft Ernst commissioned his agent in Vienna, von M�ller, to ascertain from Haydn himself his price for three new symphonies of which the Prince was to be the sole owner: "as Joseph Haydn is demonstrably the greatest of Symphonists and I am thoroughly well disposed towards his Music, I should like to obtain three new Symphonies from him, which however nobody save myself should possess. My Court Agent shall tender this my Request to Joseph Haydn and advise me concerning what he will charge and when I shall receive these Symphonies." The composer accepted the commission but explained that he could not deliver at once on account of other obligations. More than a year and a half were to pass before Haydn delivered the commissioned symphonies. The Bavarian Chamber Orchestra (BKO) based in the idyllic spa resort of Bad Br�ckenau has made a name for itself with innovative projects since it's foundation in 1979. The orchestra consists of first-rate professional musicians from the nations of central Europe, who regularly come together as chamber orchestras or in various chamber ensembles.

Haydn: Composés par M. Hayden

This Haydn Society 2-disc set features little-known chamber works from the first and last decades of the composer’s life. The Trinity Haydn Ensemble was created in 2009 as part of a Haydn bicentennial collaborative project shared between members of Trinity College of Music and the Haydn Society of Great Britain.

Leen de Broekert plays on the fortepiano, a copy after Walter, Haydn.