Helene Schuetz writes of this new release: “The inspiration for this recording and the choice of works came from the Gigue that ends J.S. Bach’s Partita in B flat major. When I first heard it in concert I knew immediately that this composition would work wonderfully for the harp. With the Gigue as my starting point, I began to arrange the Partita for harp. Of course, the instrument does have other tonal qualities than the piano – and, like any instrument, it has its technical limits when it comes to performance practice. When it comes to chromaticism, the mechanics of the harp are more limited than those of the piano, and one only has eight rather than ten fingers to play with. But it was precisely that challenge that fascinated me in the process of arranging the works: you first need to have a clear idea of the work's intention and to have formed your own view of its interpretation. The task then is to find ways and means to develop one's ideas and perhaps to achieve an even clearer interpretation than would have been possible on the original instrument. In this way, arranging the work for another instrument intensifies the performance, because the use of a new instrument allows other, new facets in the compositions to be illustrated and new tonal nuances achieved…”

Classical Music

Classical Music

Classical Music

Classical Music

The flute solos from the Bach cantatas require great performers. Some 300 years after they were premiered, the Bach Collegium Stuttgart and Hänssler Classic are pleased to celebrate Peter-Lukas Graf, one of their most eminent soloists! Our selection presents them in what we hope is a pleasing, varied manner and concentrates on bringing out a wide color palette: in addition to the well-known trio sonata form (i.e. two instruments and continuo), the listener will also find pieces associating the flute with another instrument (or more) - such as a second flute, one or two oboi d’amore, a violin sometimes playing in unison - or works in which the flute is accompanied by the full string section, and four choruses from four different cantatas, each with a concertante flute part.

Classical Music

This album is a re-release of H�nssler Classic's celebrated Bach Ein Choralbuch series, which recorded all of the master composer's choral works. The present release features Morning, Thanks and Praise, and Christian Life. The Bach Collegium Stuttgart was founded in 1965 by Helmuth Rilling as the instrumental partner for the G�chinger Kantorei, and has been administered and funded by the Internationale Bachakademie Stuttgart since 1981. The group's complete recording of the sacred cantatas and oratorios of Johann Sebastian Bach, released during the composer's 300th anniversary year in 1985, raised it's profile as a leading Baroque music ensemble performing in a historically-informed style. Nevertheless, the Bach Collegium mainly performs on modern instruments. In this way, it can constantly expand it's repertoire and it is now a highly flexible orchestra which is capable of expertly performing works of all periods. Numerous recordings, particularly those on the Bachakademie's own label H�nssler Classic, including several premieres, illustrate the group's versatility.

When Prof. Karl Laux, in his day one of the German Democratic Republic's most celebrated musicologists, was working on his book on music in Russia and the Soviet Union, he consigned a dozen or so assorted personalities to near-oblivion on a mere eight-and-a-half pages. One of these is Mikhail Mikhaylovich Ippolitov-Ivanov, who in 1922 was one of the first in the United Soviet Republics to be awarded the title of "people's artist" and who had surely deserved better if only on account of his diversified oeuvre than an extended footnote - not to mention the achievements with which he had stamped his character upon Russian and Soviet culture as ethnographer and conductor, as teacher and organizer.

Classical Music

This album is a re-release of H�nssler Classic's celebrated Bach Ein Choralbuch series, which recorded all of the master composer's choral works. The present release features Incidental Festivities and Psalms. The Bach Collegium Stuttgart was founded in 1965 by Helmuth Rilling as the instrumental partner for the G�chinger Kantorei, and has been administered and funded by the Internationale Bachakademie Stuttgart since 1981. The group's complete recording of the sacred cantatas and oratorios of Johann Sebastian Bach, released during the composer's 300th anniversary year in 1985, raised it's profile as a leading Baroque music ensemble performing in a historically-informed style. Nevertheless, the Bach Collegium mainly performs on modern instruments. In this way, it can constantly expand it's repertoire and it is now a highly flexible orchestra which is capable of expertly performing works of all periods. Numerous recordings, particularly those on the Bachakademie's own label H�nssler Classic, including several premieres, illustrate the group's versatility.

Classical Music

This is the 21st CD of the complete recordings of the Haydn symphonies by Thomas Fey and the Heidelberg Symphony Orchestra. Pizzicato praised Fey's interpretations of Haydn as 'mature and coherent.' It's a balanced performance of using historical performance practice, and modern strings and historic brass instruments.

16-CD set includes works not listed in work list below.

“Beethoven's piano output alone is enormous and arguably the greatest collection of all, and surely its most remarkable feature is the sheer variety of expression. Among the 32 Sonatas you will not find two that are similar; and in the 20 sets of Variations one marvels at the range and inspiration of his vision and imagination. Indeed, he was a rebel and he defined the course of classical music probably more than any other composer. He travelled fast and far, from the influence of Haydn and Mozart in his early works to his own idiomatic language of the middle period works and, finally, reached heights of great spiritual depth in the last 10 years or so. The works are presented in chronological order, but there are many instances where scholars cannot pin down the precise time of composition. Also, in a few cases, strict chronology is deliberately ignored so that on each album the order offers more attractive listening.“ (Martini Tirimo)

Recorded 2008-2018.

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REVIEW:

This is a mountain of music; sixteen albums, each lasting nearly eighty minutes. Not all the unknown Beethoven is of the first magnitude, but much (more than you imagine) of it is. Obviously for such a undertaking it is necessary to have a very special interpreter. The veteran British-Cypriot pianist Martino Tirimo is an artist with a superb and very extensive career, although he has not reached the popularity of the media.

If you are looking for a titanic interpretation of the Hammerklavier you will have to go to Richter, but if what you need is a useful set that allows you to consult at all times works such as the 24 variations on the Arietta “Venni amore” by vicenzo Maria Righini then you must go to this box. Tirimo, in addition, has written a useful 60-page booklet notifying each and every one of the pieces. This is the work of a life.

– Scherzo [Spain] (Félix de Azúa)

This album is a re-release of H�nssler Classic's celebrated Bach Ein Choralbuch series, which recorded all of the master composer's choral works. The present release features the German Mass. The Bach Collegium Stuttgart was founded in 1965 by Helmuth Rilling as the instrumental partner for the G�chinger Kantorei, and has been administered and funded by the Internationale Bachakademie Stuttgart since 1981. The group's complete recording of the sacred cantatas and oratorios of Johann Sebastian Bach, released during the composer's 300th anniversary year in 1985, raised it's profile as a leading Baroque music ensemble performing in a historically-informed style. Nevertheless, the Bach Collegium mainly performs on modern instruments. In this way, it can constantly expand it's repertoire and it is now a highly flexible orchestra which is capable of expertly performing works of all periods. Numerous recordings, particularly those on the Bachakademie's own label H�nssler Classic, including several premieres, illustrate the group's versatility.