Wiener Akademie

Orchestra

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Liszt: A Faust Symphony, S108

Liszt: A Faust Symphony, S108


The Faust Symphony undoubtedly constitutes one of the principal works of Liszt’s Weimar period, if not indeed his orchestral masterpiece. Liszt had become acquainted with Goethe’s poem Faust in 1830, in the French translation of Gérard de Nerval. He began composing the work in the 1840s, after a visit to the Goethe House in Weimar. Its first performance was arranged for September 1857, to mark the centenary of Grand Duke Carl August and the erection of a statue to Goethe and Schiller. On this occasion Liszt rounded the work off by adding a tenor solo and chorus at the end. The premiere took place on 5 September. This musical transposition of the poem is performed here by Orchester Wiener Akademie under Martin Haselböck, and follows their recording of Liszt’s transcriptions of works by Schubert, released in 2015 (ALPHA471). In parallel with this, the Viennese period-instrument orchestra is also continuing its Resound Beethoven project, the recording of the complete symphonies at the venues of their first performances.

“[Haselböck] reveals aspects of Liszt’s scoring that would otherwise go unnoticed…you being to understand Liszt’s sound world as he understood it…beautiful singing by Steve Davislim” Gramophone Magazine, May 2017

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Re-Sound Beethoven Volume 2

Re-Sound Beethoven Volume 2


Beethoven:

Symphony No. 7 in A major, Op. 92

Wellington's Victory, Op. 91 (Battle Symphony)

Dussek, J L:

Jubel-Marsch

Pleyel:

Braunschweig-Marsch


It was shortly before his forty-third birthday that Beethoven hit the jackpot. On the podium of the Great Hall of Vienna University, he conducted a spectacular charity event with a star-studded cast from the very top drawer. On that date, 8 December 1813, the success was so great that the concert had to be repeated four days later. For this event, Beethoven had taken an entertainment specialist on board: Johann Nepomuk Mälzel, ‘k. k. Hofmechanicus’ (Mechanic to the Imperial and Royal Court) by trade, an inventor as talented as he was crafty. From late summer to autumn 1813, assisted by Mälzel, Beethoven was engaged in the composition of Wellingtons Sieg (Wellington’s Victory).

Beethoven’s Symphony No. 7 had already virtually acquired a patina, so long did it have to wait for its extraordinary premiere: although it comes one opus number after Wellingtons Sieg, it was written nearly two years before it, between the autumn of 1811 and the spring of 1812. But the new path it blazed was all the more prodigious as a result.

“Haselböck draws from his period instrumentalists a performance that is as sonically satisfying as it is vital and well-proportioned…a most absorbing disc” Gramophone Magazine, March 2016

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JS Bach: Cantatas

JS Bach: Cantatas


Bach, J S:

Cantata BWV51 'Jauchzet Gott in allen Landen'

Suzanne Danco (soprano)

Cantata BWV202 'Weichet Nur, betrübte Schatten' (Wedding Cantata)

Suzanne Danco (soprano)

Cantata BWV10 'Meine Seel erhebt den Herren'

Elly Ameling (soprano), Helen Watts (contralto), Werner Krenn (tenor), Marius Rintzler (bass)

Wiener Akademie-Chor

Cantata BWV80 'Ein feste Burg ist unser Gott'

Gabriele Fontana (soprano), Julia Hamari (mezzo), Gösta Winbergh (tenor), Tom Krause (baritone)

Hymnuschor

Cantata BWV140 'Wachet auf, ruft uns die Stimme'

Gabriele Fontana (soprano), Julia Hamari (mezzo), Gösta Winbergh (tenor), Tom Krause (baritone)

Hymnuschor

Cantata BWV147 'Herz und Mund und Tat und Leben': Jesu, bleibet meine Freude

Stuttgarter Kammerorchester

Sheep May Safely Graze, from Cantata BWV208

Stuttgarter Kammerorchester


Karl Münchinger recorded all the major orchestral and choral pieces by Bach for Decca, and over a period of some 30 years (from the Mono to the Digital eras), five of the Cantatas. All boast remarkable soloists from their eras. Suzanne Danco sings the two solo cantatas, BWV 51 and 202, recorded in 1953 and released on CD for the first time. Elly Ameling and Helen Watts are soloists in the early cantata, BWV 10. And the digital recordings of Ein feste Burg and Wachet auf feature Julia Hamari and Tom Krause. The collection is rounded off with two of the most popular orchestral arrangements from the Bach cantata repertoire – Jesu, joy of man’s desiring and Sheep may safely graze.

“Fascinating to chart Munchinger's development as a Bach conductor over 30 years - from the early stiffness of BWV 202 to the surefooted majesty of Ein' feste Burg.” BBC Music Magazine, December 2012 ***

“Suzanne Danco’s lively and musicianly performances in both Cantatas gave me much pleasure” Gramophone Magazine

“excellently transparent and well-detailed Decca digital recording and a fine team of soloists … the chorus’ vigorous contribution is given striking body and presence” Gramophone Magazine (BWV 80 and 140)

“The smoothest and sweetest of string playing” Gramophone Magazine (Jesu, joy of man’s desiring, Sheep may safely graze)

“very well performed” Penguin Guide *** (Cantata BWV 10)

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Holst: The Planets, Vaughan Williams: Greensleeves & Tallis Fantasia

Holst: The Planets, Vaughan Williams: Greensleeves & Tallis Fantasia


Holst:

The Planets, Op. 32

Wiener Akademie Kammerchor

Vaughan Williams:

Fantasia on Greensleeves

Fantasia on a Theme by Thomas Tallis


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DG Westminster - 4712402

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Re-Sound Beethoven Volume 5: Symphony No. 9

Re-Sound Beethoven Volume 5: Symphony No. 9


Beethoven:

Symphony No. 9 in D minor, Op. 125 'Choral'


Laura Aikin (soprano), Michaela Selinger (mezzo), Steve Davislim (tenor), José Antonio López (baritone)

Chorus sine Nomine & Orchester Wiener Akademie, Martin Haselböck

The Orchester Wiener Akademie and its conductor Martin Haselböck continue their RESOUND Beethoven series. The aim of this project is to record the complete Beethoven symphonies on period instruments in the venues where they were first performed, scrupulously respecting the layout of the orchestra 200 years ago, and also that of the chorus, which at that time was positioned in front of the orchestra.

Volume 5 is devoted to the monumental Ninth Symphony with its famous ‘Ode to Joy’.

The work’s premiere took place in May 1824 at the Kärntnertortheater in Vienna, which no longer exists. The symphony was performed again shortly afterwards in the Grosser Redoutensaal of the Hofburg Palace in Vienna. It is in this hall that the present recording was made in 2015.

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Re-Sound Beethoven Volume 4

Re-Sound Beethoven Volume 4


Beethoven:

Septet in E flat major, Op. 20

Symphony No. 3 in E flat major, Op. 55 'Eroica'


The Orchester Wiener Akademie and its conductor Martin Haselböck continue their Resound Beethoven series. The aim of this series is to record the complete Beethoven symphonies on period instruments in the venues where they were first performed, scrupulously respecting the layout of the orchestra used 200 years ago. Volume 4 is devoted to the Symphony No. 3, “Eroica” and the Septet op.20. The recording took place in May 2016 in the Eroica Saal at the Palais Lobkowitz, where each symphony was premiered in 1804 and 1807, in private performances.

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Re-Sound Beethoven Volume 3: Egmont

Re-Sound Beethoven Volume 3: Egmont


Beethoven:

Egmont Incidental Music, Op. 84


Herbert Föttinger (narrator) & John Malkovich (narrator)

Wiener Akademie Orchester, Martin Haselböck

With RESOUND we bring the orchestral works of Beethoven back to the halls and theatres of their Viennese premieres or other venues where they received their earliest performances. Four of the six venues where first performances of one or more of the nine symphonies were held still exist today, as do the eight Viennese halls and theatres where the composer’s works were performed in his lifetime. Our orchestral forces correspond in size and instrumentarium to those used by the composer, and our performances even respect unusual platform layouts, such as placing the chorus in front of the orchestra in Symphony no. 9. Our producer Stephan Reh masterfully captures the specific acoustical qualities of each room: the mellow fullness of the Baroque Landhaussaal, the powerful intimacy of the Eroica-Saal in the Palais Lobkowitz, the transparency of the Old University Hall, the dry clarity of the Theater in der Josefstadt, and the voluminous acoustic of the Redoutensaal, in Beethoven’s day the largest concert venue available in Vienna.

Theatre Music - the dialogue in the service of great poetry - is the focus of this recording. We have already been able to perform Egmont with several renowned actors. That the part of the narrator is here taken by Herbert Föttinger, currently the director of the theatre for which Beethoven himself wrote music, is beautifully fitting. Christopher Hampton has modeled the combined texts of Goethe and Grillparzer into his poetic English translation. It fills us with great joy and gratitude that John Malkovich - with whom we have already had the pleasure of collaborating for several years - has taken on the part of the narrator in the English version. With our interpretations we wish to offer you music in the sound of its own time: we want to add to the possibilities of historical instruments the sound and the aura of the concert halls in which the composer himself conducted and experienced his works. At every step in Vienna one encounters places and signs of a great musical past: to make historic architecture echo with great music and to communicate that perceived authenticity to modern ears – that is the ultimate goal of RESOUND Beethoven.

“Haselböck and the period instrumentalists of his splendid Orchester Wiener Akademie give an appropriately vibrant and battle-hardened account…Bernarda Bobro, who was clearly born to sing such roles as Beethoven’s Marzelline…is delightful in Klärchen’s two brief but engagingly worked solo numbers…a very collectable disc” Gramophone Magazine, September 2016

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Liszt & Schubert: The Sound of Weimar

Liszt & Schubert: The Sound of Weimar


Liszt:

La Notte, S699 (from Trois Odes Funèbres, S112)

Vexilla regis prodeunt, S. 185

Les Morts (No. 1 from Trois odes funèbres, S.112)

Schubert:

Reitermarsch (from Deux marches caractéristiques in C Major, D886)

transcription by Franz Liszt

Trauermarsch (from Six grande marches, D819)

transcription by Franz Liszt

Divertissement à la Hongroise D818

transcription by Franz Liszt

Fantasie in C major, D760 'Wanderer'

transcription for Piano and Orchestra by Franz Liszt


Alpha Productions pursues its collaboration with conductor Martin Haselböck and the Orchester Wiener Akademie in a disc devoted to Liszt’s transcriptions of works by Schubert.

The Viennese conductor, a reputed Lisztian, sets great store by performance on period instruments (or faithful copies) as well as performance in venues full of history and of which the composer was fond. This volume, in the continuity of the ‘Sound of Weimar’ series, initiated in 2011 by Martin Haselböck, was thus recorded in Raiding, Franz Liszt’s birthplace.

Music lovers who have appreciated the fantastic piano transcriptions of orchestral works recorded by Yuri Martynov for Outhere, will henceforth be able to discover transcriptions for orchestra of Schubert piano works.

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Alpha - The Sound of Weimar - ALPHA471

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The Great Conductors: Hans Knappertsbusch Conducts Brahms & Strauss (Remastered 2015)

The Great Conductors: Hans Knappertsbusch Conducts Brahms & Strauss (Remastered 2015)


Jube - JUBE1367

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Re-Sound Beethoven Volume 1

Re-Sound Beethoven Volume 1


Beethoven:

Symphony No. 1 in C major, Op. 21

Symphony No. 2 in D major, Op. 36


The Re-Sound Beethoven collection brings the symphonies of Beethoven back to the locations of their Viennese premieres. Four of the six venues where first performances of one or more of the nine symphonies were held still exist today, as do the eight Viennese halls and theatres where the composer’s orchestral works were performed in his lifetime. The orchestral forces of the Wiener Akademie corresponds in size and instrumentarium to those used by the composer. The producer Stephan Reh strives to reproduce the specific acoustical qualities of each room.

“As ever with Martin Haselbock, the overall agenda on this disc centres firmly on historical performance practice...it'll be interesting to see how this Haselbock series develops. Initial impressions are at the very least encouraging.” Gramophone Magazine, July 2015

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