Hartmut Lindemann very rarely records a CD. This new one is only his fifth in fifteen years, anxiously awaited by his fans. The meticulous care he devotes to the production is all the greater. He structures his programs as recitals in the old-fashioned sense, varied collections of witty, sensitive and virtuoso pieces; so it is no surprise that when he is asked about his artistic roots he only mentions a few role models from the early twentieth century. He plays the Arpeggione Sonata with guitar accompaniment instead of piano. This is not surprising, as the work was not composed for the viola, but for the arpeggione with piano. And his rendering of Schumann's D Minor Sonata is most unusual when played on a viola. This recording must surely overshadow many a violin version. The recital is rounded off by a little recording of Hubay's Zephyr, written in 1982 in strange circumstances.

Classical Music

Even for true experts on the musical women's movement, it has until now been virtually impossible to experience works by Louise Farrenc except on paper. As so often, it is a small label which has taken the bold step of opposing the usual, so familiar repertoire and letting her D Minor Trio follow that of the better known Swedish composer, Franz Berwald. The Abeggs play the important piano trios entrancingly. Their interpretation is thoroughly well thought out and yet quite obviously with a love of novelty; this should become a test for any emulators. (Audio)

Every note a jewel. (Gottinger Tageblatt)

The ability to refine the sound of piano rolls has increased in quality greatly. Thanks to this innovation and the research of restorer and collector Hans W. Schmitz Tacet is able to give you these recordings of pieces by Glazunov from 1910. Most pieces are played by the composer himself.

The Stuttgart Chamber orchestra is a professional chamber orchestra from Germany. On this CD they take on the roles of the orphan girls taught by Vivaldi for whom he wrote countless concertos.

With this recording the Abeggs have completed their collection of Schumann trios, and simply everything about this product is right: On the cover, instead of the usual somewhat stilted photos of the artists, we see a lovely sketch of Schumann by Horst Janssen. And instead of vague, flowery music stories, the booklet provides an involved and analytically precise essay, in which Jan Reichow successfully paints a new picture of Schumann. The recording technology of this CD provides a relaxed, natural sound. None of this would count for much, were it not for the Abeggs themselves, who make excellent music. That is how chamber music can sound when musicians think together. (NDR)

... on their beloved subject of rarity and novelty, Ulrich Beetz (violin), Birgit Erichson (cello) and Gerrit Zitterbart (piano) have selected only those trios to which they can commit themselves, and the hairs of their bows, whole-heartedly (and with passion) - for music full of power, life, sound and colour. (Frankfurter Allgemeine Zeitung)

The Abegg Trio plays with energy, emphasis and a touch of melancholy (FAZ Magazin)

You can be pleased to hear an interpretation which sets standards with it's ideal transparency, it's sensuality and it's emotionally rich intensity. Here there are no mannerisms to bother us, no rhetorical gimmicks or vocal inadequacies. The almost thirty singers always retain their vocal serenity, whether in the double-choral furore of Singet dem Herrn" or in the delicacy of the "Furchte dich nicht" (Be not Afraid) motet. Everything sounds relaxed but never trivial, with the sound mix perfectly balanced and performed with verbal discipline. If you do not yet have this Bach treasure in your collection, look no further than here." (klassik heute)verve, unusually articulate expressive gestures that arise from the texts, exceptional ensemble precision, illuminating inner detail, and an overall atmosphere that conveys a sense of occasion and gives the distinct feeling that these singers both understand and love this music. These are uncompromisingly exciting performances that show, given a virtuoso ensemble and some of the most challenging music ever written for voices, just how captivating choral music can be." (classics today)

The artwork on this album probably doesn't convey the impression of a long-persecuted and even longer forgotten 20th century composer. Yet its intention is not to be provocative - it merely represents reality. Riding is just as much part of Antonina Styczen's life as playing the flute. She is outstanding in both disciplines. The associated recording likewise confounds our expectations. Most people know Mieczyslaw Wajnberg by the name of Weinberg, which was assigned to him by Soviet customs officials when he entered Russia. Many of his works are becoming continually well known such as his Flute Concerto No. 2 or the Trio for Flute, Viola and Harp, both appearing on this album. Wajnberg cannot easily be pigeonholed and he assimilates numerous influences freely and virtuosically and yet isn't bound to any of the well-known artistic movements of his time.

Expressionistic variety of sound and colorful gliding impressionistic harmonies, the melodic invention of a somnambulist and, at the same time, wakeful attention to detail come together in Korngold with a formal sense orientated on the classical models. Korngold writes in an individual and concentrated language. The Camerata Freden works out his often unusual, densely packed ideas with precision and verve.

Old and new music for solo flute "An exciting musical journey which sharpens the senses for questions of recording aesthetics." (FonoForum)

Gaede Trio meets Wolfgang Schulz. Mozart's Flute Quartets are far from easy to play. Although they are extremely popular for home playing, they hold a lot of difficulties for the players, not least the instruction to make the music sound light and effortless like child's play. This "naive joyousness" which they convey might have contributed to their reputation of not being the height of Mozart's creativity. And yet they are true jewels, both of melodic inspiration and witty dialogue between the instruments. "You can't play Mozart with more beauty than this." (AZ)

With this recording too the Abegg Trio defends it's place in the top class of the world-best trios. But musical magic like this requires a great deal of courage and risk-taking with a breakneck interpretation: these explosions of emotion and the gentlest pianissimo effects literally take place on the border of a musical nothing. The fact that the three musicians master this task so easily is due above all to their perfect coordination. (HifiVision) "the Abegg's distinctive musical performances will ensure that anyone who purchases this disc will cherish the investment." (Classics Today)