More and more music lovers are discovering Antonio Rosetti, Mozart's contemporary from Wallerstein in Bavaria. After a number of horn concertos and a few delightful symphonies, these are the two first piano concertos to be released; one of them - also a rarity - was composed by Rosetti together with his pupil Nanette von Schaden. A Stuttgart Chamber Orchestra with delight in playing, a soloist (Nerine Barrett) who hits Rosetti's timbre most perfectly, and a conductor who clearly cares about this music are the features of this recording. A must for every music collection. (customer review) " the sound of the TACET recording is of demonstration quality... The notes, by Sterling E. Murray, president of the International Rosetti society, are very thorough. The performances are first-class. As expected, the Stuttgart Chamber Orchestra is well polished. Johannes Moesus is a young German conductor of considerable quality. He is also president of the International Rosetti society. I have not previously encountered pianist Nerine Barrett. A Jamaican, she has studied and performed widely according the notes. Certainly her performances here indicate we should be hearing more from her (...) Anyone interested in Rosetti is well advised to obtain both recordings." (Fanfare)

Dvor�k's 9th symphony paints the town red, for sure. But that's not all! The strings of Andr�s Keller are able to blossom like flowers. They don't play uniformly but with a seemingly congenital naturalness as if it were easy for 14 violins to sound as homogeneously and at the same time as individually as a single violin. Also for the woodwind instruments it is not just the high performance that counts but the sensitivity and the flowing of the music, for example the English horn solo in the second movement. The brass: no power play but rich and gentle, always sensitive chords. The tempi, the transitions, everything flows organically and invites you to go along. It's no surprise that one role model for Andr�s Keller is Wilhelm Furtw�ngler. Without any showing off the well-loved cellist Mikl�s Per�nyi gently carries you off into the mysterious world of the rondo op 68/8 and "Klid" (silent wood) op. 95. Three slavonic dances from op. 46 round off the program. The ("Klassik-heute") recommendation of Guido Krawinkel in the latest review of another TACET recording was: "... Keep your eyes closed and listen." That's what we suggest here also.

The tunes on this release aim to awaken the listener’s imagination. From a small boat rocking helplessly on the waves, to unhatched chicks dancing in their shells, the listener experiences every second. These works by Modest Mussorgsky and Maurice Ravel are frequently performed, well loved, and are presented here in a new guise by Markus Schiermer. Markus Schirmer is a professor of concert piano at the University of Music and Performing Arts, Graz. He recently received the Music Manual Award at the International Music Convention, and the Karl-Bohm Interpretationspreis.

This unboundedly fantastic interpretation is now also available as an Audio DVD in a surround version; here the lover of amazing musical experiences can follow a most original staging of this incredible event. The wind trio is assembled in a triangle (left, right, behind), the viola is opposite the listener - at twelve o'clock so to speak - whilst the violins one and two are slightly to the left front and back, cello and double bass similarly slightly to the right. In the centre of this cleverly designed directing we find a completely new approach to symphonic chamber music unrivalled in early Romantic music.

He [Hartmut Lindemann] combines a finely spun, expressive tone with creative intelligence and effortless brilliance right up to the top notes where the viola often sounds like a violin. Supported by pianist Gunther Herzfeld with nimble improvisation, Lindemann improves on many a frivolous piece with his thoughtfulness, creating the right atmosphere for the CD title (named after a Debussy arrangement): Beau soir - a lovely evening. (Frankfurter Allgemeine Zeitung)

Three G Minor symphonies summarized under the motto Sturm and Drang [Storm and Stress] 2: The young conductor Johannes Moesus and the Leipzig Saxon Chamber Orchestra demonstrate with Mozart (K 183), Haydn (Nr. 39) and Vanhal not only the threatening element of this musical genre, but also outstanding musical culture, supported by the finest of recording techniques. (Lubecker Nachrichten)

The Abegg Trio is a terrific group, and it's recordings for Tacet have been almost uniformly outstanding. This Dvorak CD is no exception. They play with scrupulous attention to detail, excellent balances, gorgeous tone, and most importantly (for the Dumky" Trio particularly), a welcome lightness of texture and enlivening sense of rhythm. (...) Once again the ABEGG's turn in performances that are second to none. (...) Sonics are, as always with Tacet, state of the art." (classics today)

Twice Brahms worked on his first piano trio [op. 8]: In 1854, when he put it to paper and 1889, when he worked on it again and thoroughly revised it. Both versions have their merit and, more importantly still, their own specific musical charm. This applies particularly to the finely chiseled interpretations by the Abegg Trio (Fono Forum)

Eminently balanced and intoned with razor-sharp accuracy, these 2010 renditions of Dvorak's largest chamber work and household" trios prove enduring." (Audiophile Audition)

I have become more sensitive to superfluous notes. I wish to convey my subjects, which can only be of a musical nature, as directly as possible, not dressed up, not encoded or covered by too much artistry... Gunter Bialas explained in 1990 about his style of composing. Numerous works of contemporary composers were dedicated to the Auryn Quartet which played all - some of them even for the first time. This CD, the twelfth in "The Auryn Series" by TACET, is dedicated to Gunter Bialas who died in 1995.

With a good surround sound system you will close your eyes and imagine yourself seated in the midst of the performers at a live concert. This is a splendid sonic experience. (Audiophile Audition)

Placing the musicians around the listener has a very unusual effect, because the music besets your body and binds it; you sit in the middle of the musical action and you are under attack from all sides. You physically feel the vibration because it physically spreads through your body. But that is not all: your ears bathe in a sea of fairy-tale colors of the most sublime culture. 4009850011835 TCET118DVA 19542065 .00 26.99 .28 TACET RECORDS DVD AUDIO CLASSICAL CHAMBER MUSIC & RECITALS 02/15/2003 https://media.aent-m.com/graphics/items/sdimages/a/500/2/3/3/7/1997332.jpg 5 1 N HAYDN / AURYN QUARTET AURYN SERIES 20: AURYNS HAYDN OP 71 These and other Haydn recordings by the Auryn Quartet convince listeners and indeed make them enthusiastic by their instrumental sovereignty and refinement in their reaction to the given movement characteristics. This is doubtless one of the most important contributions to the Haydn Year" (+�sterreichische Musikzeitschrift)

In this DVD-A the strings surround the listener with a realistic lifelike presence. It is an effective recording method that makes the musical experience that much more immersive and enjoyable. The goal, as always, is to approach the impact of live music and the Tacet engineers have succeeded. (Audiophile Audition)

Are there really that many piano trios by Brahms? There are indeed, even though one work on this CD could not prove this. The Abegg Trio now present their fourth CD with works by Johannes Brahms! And once more, as with Volume III, Gerrit Zitterbart, Ulrich Beetz and Birgit Erichson played historical instruments and used. Gut strings. Martin Spangenberg played a copy of a clarinet by Richard Muhlfeld, who inspired Brahms' later clarinet works. - the recording was made in a small church near Vienna. The Abegg Trio never fail to astound US with their timelessly modern, unsentimental, accurate, thorough and yet truly sensitive interpretation of the score.

I have heard these two works (and also by the same performers the 7th and 8th Symphonies) many times both live in different halls with different orchestras as well as many recordings. However, I have to confess I was never satisfied by those performances either at the artistic level (both live and recorded) or at the aural level when recorded. Artistically they were never right, mostly because of extraneous changes to the original instrumentation and orchestration and when recorded, because of the invariably banal sound. Happily, I can say here and now that this SACD in either it's Pure Tube Stereo or Real Surround Sound version as created by Tacet, has finally moved me to think of it as my long-sought reference" CD both artistically and aurally." (John Nemaric)