Martin Haselböck

Conductor

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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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Jongen: Symphonie Concertante

Jongen: Symphonie Concertante


Jongen:

Passacaglie et Gigue for orchestra, Op. 90

Sonata Eroïca Op. 94

Symphonie Concertante for Organ & Orchestra, Op. 81

Christian Schmitt (organ)


Deutsche Radio Philharmonie Saarbrucken Kaiserslautern, Martin Haselbock

Since concertos for organ and orchestra are rare finds, it is no doubt Joseph Jongen’s Symphonie concertante, op.81, that has kept his name alive beyond Belgium’s borders. The three works recorded on this CD concentrate on the organ, the orchestra, and interaction between the two. Jongen has repeatedly been likened to his fellow Belgian César Franck, and the Sonata eroica concluding this CD is perhaps his most important solo organ work - even without the orchestra it might succeed in restoring the queen of instruments to its rightful place in the concert hall!

Performed on the Karl Schuke-Orgel of the Philharmonie Luxembourg

“A highly recommendable tribute to the Belgian composer” Gramophone Magazine, December 2016

“A worthy tribute all-round to a much neglected figure.” MusicWeb International, 20th January 2017

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Mozart: Zaïde, K344

Mozart: Zaïde, K344


Isabel Monar (Zaïde), Markus Schaefer (Gomatz), Markus Brutscher (Sultan Soliman), Christian Hilz (Allazim)

Wiener Akademie, Martin Haselböck

Zaide is one of Mozart’s early Singspiels, an opera that is often ignored partly because it was incomplete. The opera was based on a Turkish fairytale that was popular at the time which dealt with captured Europeans and Turkish sultans, slavery, liberation and gallantry. However, his characters have been deemed one-dimensional and the conflicts immature which is probably the reason it was never finished.

The quality of music is not to be dismissed and Mozart himself believed this to be a valuable piece of work, despite the fact he didn’t finish it. This is a stirring new recording and features a stunning cast.

Martin Haselböck is a distinguished conductor but also specializes in unearthing long lost vocal/instrumental works and transcribes them for historical resurrections on period instruments with his Wiener Akademie, an ensemble that he founded himself, and performs these round the world. He has conducted many Mozart operas and in 1991 was awarded the Mozart Prize of the City of Prague.

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Bruckner: Symphony No. 1 in C minor

Bruckner: Symphony No. 1 in C minor


Vienna Academy (on original instruments), Martin Haselbock

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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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Scheduled for release on 24 March 2017. Order it now and we will deliver it as soon as it is available.

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.

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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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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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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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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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