Orchestral

Music Genre
All releases with Orchestral Music
Bach meets VivaldiBach meets Vivaldi
Soundscape Maulbronn Monastery
Bach meets Vivaldi
The Lautten Compagney Berlin plays according to the traditions of the time
Johann Sebastian Bach (1685-1750):
Concerto in A Minor, BWV 1041 · Concerto in E Major, BWV 1042
Concerto in D Minor, BWV 1043
Antonio Vivaldi (1678-1741):
Concerto in G Minor, RV 157
Concerto in B Minor, RV 580 ("L'Estro Armonico", Op. 3, No. 10)
Concerto in D Minor, RV 565 ("L'Estro Armonico", Op. 3, No. 11)
Soloist: Julia Schröder (Violin)
Concertmistress: Birgit Schnurpfeil · Artistic Director: Wolfgang Katschner
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Duration: c. 67 Minutes
CD
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The UNESCO World Heritage Site Maulbronn Monastery

This concert took place in the church of the Maulbronn monastery in Germany. Built in the 12th century, the Maulbronn monastery with its Romanesque-Gothic basilica is considered as the most complete preserved medieval monastery north of the Alps. The monastery has been a UNESCO World Heritage Site since 1993. It's one of 60 historic monuments in the Germany's Southwest. The "State Organisation for Palaces and Gardens of Baden-Württemberg" (in German: "Staatliche Schlösser und Gärten Baden-Württemberg") makes accessible, communicate, develops and preserves these state-owned historic monuments with the aim of preserving the authenticity of the cultural heritage, filling them with life and preserving them for future generations. Detailed information about these unique "Soundscapes" can be found at: www.schloesser-und-gaerten.de


Review

An audiophile snapshot of permanent value

Publishing Authentic Classical Concerts entails capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is the aim, the philosophy of K&K, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so they record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. This concert took place in the church of the Maulbronn monastery in Germany. Built in the 12th century, the Maulbronn monastery with its Romanesque-Gothic basilica is considered as the most complete preserved medieval monastery north of the Alps.

Arkiv Music - The source for Classical Music

Corelli's Legacy · EU Baroque OrchestraCorelli's Legacy · EU Baroque Orchestra
Castle Concerts
Corelli's Legacy
Baroque Music by Arcangelo Corelli and his 'students',
performed according to the traditions of the time
by the European Union Baroque Orchestra
Concertmaster & Violin Soloist: Kinga Ujszászi
Music Director & Violin Soloist: Riccardo Minasi
Works by Pietro Castrucci (1679-1752), Giuseppe Valentini (1681-1753),
Giovanni Mossi (c.1680-1742), Antonio Maria Montanari (1676-1737),
Arcangelo Corelli (1653-1713), Gasparo Visconti (1683-1713)
and Francesco Geminiani (1687-1762)
A concert recording from Bad Homburg Castle in Germany
HD Recording · DDD · Duration: c. 80 Minutes
KuK 110 · ISBN 978-3-942801-10-2
CD
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Recommended in all aspects

'Corelli's Legacy' from the K&K Verlagsanstalt label offers Baroque music enthusiasts a listening experience which is unique on several fronts. Subtitled 'Baroque Music by Arcangelo Corelli and his "Students"', the album surveys the far-reaching influence this great violinist and composer had on his contemporaries. Aside from works by Corelli and Geminiani, lesser known composers represented are Pietro Castrucci (1679-1752), Giuseppe Valentini (1681-1753), Giovanni Mossi (c.1680-1742), Antonio Maria Montanari (1676-1737) and Gasparo Visconti (1683-1713). The European Union Baroque Orchestra performs under director and violinist Riccardo Minasi.
The recording is from a series titled Authentic Classical Concerts. This particular release is part of a series called 'Castle Concerts', the basic concept of which is to capture live concerts in settings where these pieces might first have been heard. In this case, it is the town church in Bad Homburg, Germany which Wilhelm II had turned into one of the most intimate and beautiful concert halls in Europe. The hall was forgotten over time, and has only recently been restored to its original splendor.
The European Union Baroque Orchestra is an ephemeral group, with its membership changing every year. The young players are selected from all over Europe, each being a specialist in early music performance. For six months out of the year, they are on tour, giving concerts in interesting and historic venues. The orchestra has performed under the directorship of some of the most eminent early music specialists in the Europe, including Roy Goodman, Ton Koopman, Gottfried von der Goltz and Paul Agnew. This Corelli's Legacy concert was directed by violinist Riccardo Minasi, who also performs. Mr. Minasi has appeared with Europe's leading early music ensembles, including Le Concert des Nations; Concerto Italiano and Il Giardino Armonico.
The playing is very fine and the energy of the live performance is palpable. The recording does give a sense of the intimacy of the venue; we are up quite close to the performers. This does results in a little stage noise and you can hear the inhale of the players before they begin playing, but this is just as it would be had you been in attendance. Recommended for the music, performances, engineering and a very unique concept.

Expedition Audio - Music that deserves to be heard

Review

***** 5 Stars

Beautiful and powerful

'William L.' on Amazon.com (Verified Purchase)

Review

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

November 2013

DVORAK: Serenade for String Orchestra in E Major, Op. 22DVORAK: Serenade for String Orchestra in E Major, Op. 22
Antonín Dvořák (1841-1904):
String Serenade in E Major, Op. 22
Performed by the Beethoven Academy Orchestra Krakau,
conducted by Pawel Przytocki
A concert recording from Bad Homburg Castle in Germany
HD Recording · DDD · Duration: 25 Min. 25 Sec.
Digital Album · 5 Tracks · incl. Digital Booklet
MP3

MP3 Album

320 kBit/sec.

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***** BEST RECORDING

This is the best recording I have found of Dvorak's String Serenade!

A customer on iTunes

Review

***** My favourite

Your version of Dvorak's String Serenade is my favourite... Gotta loveit...damn! This guy is so good!

A listener on YouTube

Review

***** An ideal introduction

An ideal introduction to one of Poland's most talented and exciting young conductors, whose work has been compared to that of Carlos Kleiber and Svjatoslav Richter.

New Classics UK

Review

***** Five Stars

PLEASED. ORDER.

Laura J Hefner on Amazon.com (Verified purchase of the Audio CD)

Review

BEST SELLER on Amazon.com

February 16, 2015: Dvorak's String Serenade Op.22 is BEST SELLER on Amazon.com:
Best Sellers Rank 1 in 'Symphonies / Romantic'
Best Sellers Rank 2 in 'Periods / Romantic'
Best Sellers Rank 3 in 'Symphonies / Classical'

Review

***** Superb

I heard this piece at a summer concert in Symphony Hall and was thoroughly enchanted by it. I downloaded it on to my ipod and it features regularly. It is a very melodic, uplifting, life-enhancing piece, superbly played.

Mr. P. Skeldon on Amazon.uk (Verified Purchase)

Review

***** Five Stars

Lovely!

Booklearning on Amazon.com, August 3, 2016 (Verified purchase of the MP3 Music Album)

G. Fr. Handel · Judas MaccabaeusG. Fr. Handel · Judas Maccabaeus
George Frideric Handel
JUDAS MACCABAEUS
The English Oratorio HWV 63, performed according to the traditions of the time
by Sinéad Pratschke (Soprano), Catherine King (Mezzo-Soprano),
Charles Humphries (Countertenor), Mark Le Brocq (Tenor),
Christopher Purves (Bass), Musica Florea Prague,
and the Maulbronn Chamber Choir (Maulbronner Kammerchor)
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 150 Minutes
2 CD
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This is a drum beat...

The technical sounding, outstandingly successful recording supplies the discography of the work with an interesting and worth listening to variant on the recordings by Harnoncourt, Gardiner, Marriner and Creed...

Dr. Karl-Georg Berg, DIE RHEINPFALZ

Review

Oratorio in three movements, performed in a historical setting

G.F.Handel's oratorio in three movements, Judas Maccabaeus, is performed in English in a historical setting by Sinéad Pratschke, Catherine King, Charles Humphries, Mark LeBrocq, Christopher Purves, Maulbronner Kammerchor and Musica Florea Prag. Juergen Budday conducts this concert recording from the convent church in Maulbronn.

New Classics UK

Review

Excellent recording

This is an excellent recording of one of Handel's best and most popular oratorios, and is highly recommended...

Classical Music UK & The British Music Society

Review

A surprising, wonderful, buoyant HIP Judas Maccabaeus with an outstanding Sound

I actually received this recording by mistake, but this live performance of Handel's oratorio is absolutely excellent, a refreshing joy to listen to and to return to. For a long time my favorite Maccabaeus has been the Mackerras version on Archiv, with Janet Baker. This recording, conducted by Jurgen Budday, is an Historically Informed Performance, which means they used original instruments and techniques (less string vibrato, smaller orchestra sections with more transparent sound, men using falsetto in place of women in some parts, for example). I will compare the merits of these two. This Budday HIP performance has gotten under my skin for several reasons: the conducting is exciting and very tasteful; the DDD sound is outstanding; the soloists are excellent, fresh, and stylistically intelligent; the HIP orchestra is tight and accompanies the singing deftly! I had never even heard of Jurgen Budday before.
Mackerras is excellent too, so I am not abandoning that recording any time soon; that recording is ADD, on modern instruments, and not all the soloists sound as fresh or as idiomatic as they do on this Budday recording - which really opened my ears.
To begin with Budday's tempi are buoyant - not simply fast, but well sprung. There is an energy which I think comes in part from it being a live performance. Budday's performance is about 20 minutes shorter than Mackerras' and is thus on 2 disks instead of 3. Mackerras is also a lively conductor and knows his way around Handel; in many ways his performance is a revelation, he is very sensitive in the solo accompaniment, and there is never any feeling of dragging. It must be said that both conductors have put themselves at the service of this music - individual personalities do not emerge to over-interpret Handel's musical and dramatic intentions. The music is allowed to speak for itself in both recordings, and the big moments ("See the Conqu'ring Hero", for example) are given their full due, making great impact (and an interesting contrast) in either scale.
The digital sound on the Budday CDs is excellent, catching the details of the soloists, choir, and orchestra as if it were a studio recording, but with the added atmosphere of a live hall - it sounds absolutely great in my listening room (using Yamaha 200W amp, ADS 9 speakers, and Denon CD player equipment). The Mackerras recording has great studio sound which I would characterize as detailed and full, but less atmospheric since it's ADD and not live. It also sounds a little "closer", which is an artifact of being a studio recording.
Budday's soloists are all excellent and have beautiful voices! They all sound young, fresh, and in particular they sound as if they all live with this kind of music. They sing gloriously - bright and strong in the ensembles, tender and quite moving in solos and duets. The choir (Maulbronner Chamber Choir) is less massive than modern performances tend to use - and thus more detailed and clear, and in some places men use falsetto in place of women in some alto solos, to haunting effect. Mackerras' soloists are all great singers, some of whom are opera stars and others whom are known for HIP careers. Janet Baker in particular is simply captivating, and her duets with Felicity Palmer are quite moving. The Wandsworth School Choir, boys, sounds larger and fuller, thus less detailed and clear by comparison. I know some people feel boys choirs sound too homogeneous, but I think it works well here.
Budday's orchestra (Musica Florea Prag) uses original instruments and HIP techniques and they sound wonderful, you hear everything. The string sound is warm (early HIP performances could sound "dry" to modern ears). The playing is technically excellent, crisp, often breathtaking, and always very sensitive. Mackerras' orchestra, English Chamber Orchestra, is closer to a modern symphony orchestra. They sound full and warm, with a richness that many listeners have become accustomed to, but they are also crisp and totally inside this music.
What to do, what to do? If you're looking for an accurate rendering of this music that is close to what Handel's audience heard, than this Budday recording is the one. If you're a Janet Baker fan (like I am), then Mackerras will be for you. If you prefer digital sound, then Budday is the way to go (although both sound great). If you like to hear the intricate details in the orchestra and chorus, well, then Budday is for you.
For me, I'll tell ya, I am glad I have both now. I simply cannot make up my mind and I love them both!

R. Nadel 'Opinion Above Knowledge!' (Boulder, CO, USA) on Amazon.com

George Fr. Handel · BelshazzarGeorge Fr. Handel · Belshazzar
George Frideric Handel:
B E L S H A Z Z A R
The English Oratorio HWV 61,
performed according to the traditions of the time
by Miriam Allan (Soprano), Michael Chance (Countertenor),
Patrick van Goethem (Countertenor), Mark Le Brocq (Tenor),
André Morsch (Bass), Hanoverian Court Orchestra,
and the Maulbronn Chamber Choir.
Conductor: Jürgen Budday.
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 150 Minutes
2 CD
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***** This is a great recording!

This performance is recorded live! And that's one of the reasons that it is so exciting to hear. Performers and conductor alike are really 'up' for a performance like this, and the listener is rewarded by this experience. No matter that a note here and there may not be perfect, it's really the overall 'high' that this type of rendition gives us. Of course, no need to worry that Maulbronn discs are inferior; just the opposite: excellent singers & instrumentalists and outstanding soloists prevail.
The English passion for the oratorio is largely due to Handel. Every year from 1738 to 1751, he produced at least one. Handel's oratorios, more dramatic than any previously written,were like operas without scenery and costumes. "Balshazzar" is one of a cycle of old testament oratorios by Handel. It is the story of the Babylonian king, Belshazzar, as presented in the biblical story from the book of Daniel. Belshazzar commits sacrilege against the God of the Israelites, upon which a ghostly hand inscribes the mysterious text,the Menetkel, upon the wall of the court,predicting the downfall of the kingdom and the death of Belshazzar at the hands of the Persians. The prophecy is fulfilled that very same night.
Instrumentally and chorally this is a great recording! The characters of Daniel (Michael Chance) and Belshazzar (Mark LeBrocq) are well sung and dramatically convincing as is Nitrocris (Miriam). Gobrias is OK and somewhat convincing at times, but has some difficulty producing well-rounded low tones. But the weakest character both dramatically and vocally is Cyrus (Patrick van Goethem) countertenor. His voice was breathy in the low register and brittle and somewhat off pitch in the upper register. However, I'm really hard on countertenors, so you may not agree! One of the most exciting and well performed parts occurs when the hand of God writes on the wall terrifying Belshazzar; Daniel, the prophet then appears and prophesies in a most frightening manner death and destruction and nobody could have done that better than Chance. RECORDINGS FROM MAULBRONN ARE NEVER DULL!

George Peabody (A voice teacher and early music fan) on Amazon

Review

***** One of The best of Handel's Works

This is a masterpiece to enjoy and pass the treasures of classical music to your children.

'JORALE95' on eMusic.com

Review

A splendid recording

Handel’s spectacular oratorio Belshazzar was composed in 1744, from a libretto by Charles Jennens that describes the fall of Babylon. Less successful in it’s day than the popular Italian opera, Belshazzar is a work on an imposing scale—dramatic, passionate, full of stirring choruses and solos, and a piece which Handel himself described as ‘very grand and uncommon’. The oratorio is full of invention, energy and drama with the Jewish, Babylonian Persian and Medes masses having their own distinctive musical styles that were juxtaposed to create a tense dramatic conflict. Composed in the same year as the splendid Hercules the two oratorios represent the peak of Handel’s dramatic writing. Belshazzar was a failure at the time of its first performance in 1745—contemporary reports speak of a disastrously bad performance—and the oratorio never gained popularity in Handel’s lifetime. Jürgen Budday is director of church music and artistic director of the concert series at the monastery of Maulbronn, of the cantor choir and of the Maulbronn Chamber Choir. He is one of the leading German conductors of historical and modern vocal music, and his previous concert recordings have received international acclaim, including thos of the Handel oratorios Jephtha, Samson, Judas Maccabaeus, Saul and Belshazzar may be one of Handel’s less performed works but is indisputably one of his finest, as is evident from this splendid recording in which the soloists include Mark Le Broque (Belshazzar), soprano Miriam Allan, countertenor Michael Chance and Patrick van Goethem.

new-classics.co.uk

Review

HI-RES AUDIO

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November 2013

George Fr. Handel · JephthaGeorge Fr. Handel · Jephtha
George Frideric Handel:
Jephtha
The English Oratorio HWV 70, performed according to the traditions of the time
by Emma Kirkby (Soprano), Melinda Paulsen (Mezzo-Soprano),
Charles Humphries (Countertenor), Julian Podger (Tenor),
Stephen Varcoe (Bass), Monastery Baroque Orchestra,
Maulbronn Chamber Choir (Maulbronner Kammerchor)
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
DDD · Double Album · c. 150 Minutes
2 CD
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A splendidly atmospheric recording

The oratorio Jephta was George Frideric Handel's last large work, written in 1751 in London and first performed at Covent Garden in the following year. This dramatic and poetic work in three movements reflects the inner aspect of Jephta's unsolvible solitude when he is expelled from Gilead by his half-brothers and grows up in exile. This splendidly atmospheric recording was made at the medeieval Monastery Maulbronn in Germany and fully captures the music's great force and beauty. The performers here include Emma Kirkby (soprano), Melinda Paulsen (mezzo-soprano), Charles Humphries (alto), Julian Podger (tenor), Stephen Varcoe (bass), together with the Barockorchester der Klosterkonzerte, Maulbronner Kammerchor, and conductor Jürgen Budday.

New Classics UK

Review

Clear and beautiful

In this public performance of his last oratorio, recorded and performed at the church of monastery Maulbronn in Germany, the sound is very clear and beautiful...This K&K issue is pleasurable a worthwhile addition to the work´s discography...

John T. Hughes, International Record Review

Review

***** I could not be happier with this superb recording

I have been listening to Jephtha and Samson quite extensively, and I must say that these two recordings are truly impressive. First, the cast of soloists is an absolutely superb assembly of historically-informed performers. It would be hard to find singers any better than Emma Kirkby, Steven Varcoe, Michael Chance. I found all of the performances by the soloists nearly impeccable.
Second, I suspected that the recordings themselves might be filled with ambient and background noises since these were the result of live performances.
I have been extremely pleased with the technical aspects of the recordings: they are 'clean' and clear with very little extraneous sounds. The engineering of these recordings is highly commendable!!
Finally, the orchestral playing by the Barockorchester der Klosterkonzerte and the participation of the Maulbronner Kammerchor are nearly flawless. The string playing is especially strong, and the choruses - filled with drama and emotion - are executed at the highest possible level. Even the pronunciation and intonation of the English is perfect. In sum, I could not be happier with these two superb recordings. Already possessing several recorded versions of each of these masterful oratorios, I felt that it would be difficult to match the strength and quality of, for example, the performance under John Elliot Gardiner.
These two new additions by K&K Verlagsanstalt to the recorded Handel repertoire are magnificent models, exemplary of how to bring these monumental works to life for the modern audience. The crisp, clear recording, the excellent engineering, the incredible acoustics, the superb performances make these two of the best Handel compact discs I have purchased in a long time.
I should be most happy if you would keep my name on your mailing list, since I would like to be informed when your fine enterprise releases any more Baroque repertoire. These are performances to be treasured and are of the highest caliber of historically-informed practice.

Thomas R. McCallum (USA) on Amazon.com

Review

Very impressive

Kirkby shines vocaly, this being a performance to emphasise the profound and the serious. The chorus sing strongly, with warm and rounded tone, and firm lines; several of the choral numbers are very impressive, for example the Part I chorus '0 God, behold our sore distress', which has considerable grandeur. The marvellous chorus that ends Part 2, one of Handel's noblest, 'How dark, 0 Lord, are thy decrees, all hid from human sight' (his blindness overcame him as he wrote it) is well sung. Some of the quicker choruses are done with real vigour and confidence, for example 'When his loud voice' and the jubilant final ones.
The resonant church recording enriches the sound of the choir. The orchestra is hearty and the conductor, Jürgen Budday, draws some buoyant rhythms from them in the faster music.
The strongest inducement to buy this set lies in the loveliness of Emma Kirkby's singing. This is no longer the exquisite, delicate thread of sound that it once was, but it is still exquisite and delicate while being much fuller and richer, and her characterisation of lphis, the daughter of Jephtha who 'must a victim fall' because of his 'impious vow' to sacrifice the first person he encounters after victory. Listen to her wonderfully shapely and natural singing of 'Tune the soft melodious lute', for example, or 'Farewell, ye limpid springs and floods', as she movingly welcomes death.
Storgè is sung with strength and clarity by Melinda Paulsen (who also does the Angel air in Part 3). Jephtha himself is well taken by Julian Podger, a very capable singer. He is at his best in the heroic music, such as 'His mighty arm'. Zebul is warmly and sensitively sung by Stephen Varcoe, Charles Humphries provides an able Hamor, duetting gracefully with Emma Kirkby in two numbers.

Stanley Sadie, Gramophone Magazine

George Fr. Handel · JephthaGeorge Fr. Handel · Jephtha
George Frideric Handel:
J E P H T H A
Complete recording of the English Oratorio HWV 70,
performed according to the traditions of the time
by Kirsten Blaise (Soprano), Annelie Sophie Müller (Mezzo-Soprano),
David Allsopp (Altus, Countertenor), Benjamin Hulett (Tenor),
Simon Bailey (Bass), Ensemble il capriccio (Baroque Orchestra),
Maulbronn Chamber Choir.
Conductor: Jürgen Budday.
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 163 Minutes (2h:43m)
2 CD
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Almost three hours of superb-sounding music...

This recording is in many ways a real treasure. Its chief value is that it vividly captures a wonderful performance of Handel’s final oratorio, giving the listener a fine impression of the venue, the medieval Maulbronn monastery in southern Germany. The opening notes of the thrillingly dramatic overture grab the listener’s interest and the well-chosen soloists make a vivid impression.
The story involves the military leader, Jephtha (tenor), who is asked by his brother, Zebul (baritone) to lead the Israelites against their oppressors, the Ammonites. Jephtha vows that, if successful, he will sacrifice the first person he sees after the battle. This turns out to be his daughter, Iphis (soprano). His wife, Storgè (mezzo-soprano) and Iphis’s fiancé Hamor (counter-tenor), are suitably horrified, as are the onlooking Israelites. An angel (soprano) transmutes Iphis's sentence to life as a virgin; hallelujahs are sung.
Benjamin Hulett is outstanding as Jephtha who at first is exuberant when facing his military task, then anguished and horrified at the results of his vow. His accompagnato “Deeper, and deeper still” would be worthy of a musical dramatization of King Lear. The other main role is that of Iphis, sung by American soprano Kirsten Blaise; she also must express a wide range of emotions and carries it off extremely well. Simon Bailey is rich-voiced and stalwart as Zebul, and Annelie Sophie Müller as Storgè is blessed with a voice that has a rosy bloom about it. David Allsopp gets off to an uncertain start as Hamor but in the end rises to full worthy participation in his duet with Iphis, plus a quartet and quintet with the other principals.
The 39-member choir and 26-member orchestra provide exactly the right sound for this great work. The orchestra use specially reconstructed period instruments tuned to the historically accurate a=415 Hz. Jürgen Budday’s tempi are well-judged throughout. Some might find the acoustic to be overly resonant, but I find it helps bring to life a performance I wish I had been able to attend. But there are almost three hours of superb-sounding music on just two CDs.
Still the stated aim of K&K is to capture an outstanding performance in which “the performers, audience, opus and room enter into an intimate dialogue that is...unique and unrepeatable”. This they have accomplished.

© 2014 ConcertoNet.com, Michael Johnson

George Fr. Handel · JoshuaGeorge Fr. Handel · Joshua
George Frideric Handel:
J O S H U A
Unedited version from 1748 of the English Oratorio HWV 64,
performed according to the traditions of the time
by Miriam Allan (Soprano), David Allsopp (Countertenor),
Mark Le Brocq (Tenor), James Rutherford (Bass),
Hanoverian Court Orchestra (Hannoversche Hofkapelle),
and the Maulbronn Chamber Choir (Maulbronner Kammerchor)
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 140 Minutes
2 CD
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Unique

A unique interpretation of a baroque master piece.

A listener on YouTube

Review

Outstanding with the right balance between voices, orchestra and choir...

The splendid German label, K&K continues to delight eclectic connoisseurs with selected works, mostly choral recorded in the splendid setting of the UNESCO World Heritage site, the Maulbronn Monastery in rural Germany.
Handel's 'Joshua', an oratorio which is perhaps rather overlooked when compared to other more copiously played works. However this splendid interpretation which includes some of the world's rising stars in oratorio singing could change that neglect. Budday directs the Hannoversche Hofkapelle with alacrity, never forcing the pace untowardly but at the same time keeping the ebb and flow of the whole work in check.
The recoding is outstanding with just the right balance between voices, orchestra and choir and I really must recommend this beautifully presented set to all lovers of choral music.

Gerald Fenech on Classical Net

Review

An exemplary recording...

George Frideric Handel's Joshua was composed in a month during the summer of 1747. It was the fourth oratorio by the great composer based on a libretto by Thomas Morell, and premiered in 1748 at the Covent Garden Theatre, London. Based on the Biblical stories of Joshua, this is one of Handel's works from the height of his late creative period. Following the Jacobite Rising in England, he produced a series of oratorios based on military themes: Occasional Oratorio, Judas Maccabaeus, Alexander Balus, Joshua and Solomon. One of Handel's most famous choruses, 'See the Conq'ring Hero Comes' was originally written for Joshua, although the composer soon added it to the better-known Judas Maccabaeus, which had premiered the season before. The sources, story and style of the two works are similar, but Joshua has perhaps been more underrated and contains some wonderful music, especially in the second act with its splendid opening and closing choruses. This exemplary recording, made in 2007, is part of a cycle of old testament oratorios by G. F. Handel and is performed at Maulbronn monastery. The series combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, aided by historically informed performance on reconstructed historical instruments tuned to the pitch customary in the composer's lifetime. Jürgen Budday, artistic director and founder, conducts the excellent Maulbronn Chamber Choir and Hanoverian Court Orchestra, with a fine array of soloists Miriam Allan (soprano), David Allsopp (countertenor), Mark LeBrocq (tenor) and James Rutherford (bass). See also these K&K recordings: BELSHAZZAR, SAUL and DIVINE LITURGY.

new-classics.co.uk

George Fr. Handel · MessiahGeorge Fr. Handel · Messiah
George Frideric Handel:
M E S S I A H
The complete recording of the English Oratorio HWV 56,
performed according to the traditions of the time
by Miriam Allan (Soprano), Michael Chance (Countertenor),
Mark Le Brocq (Tenor), Christopher Purves (Bass),
Hanoverian Court Orchestra, Maulbronn Chamber Choir.
Conductor: Jürgen Budday.
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 140 Minutes
2 CD
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A rich Messiah of unusually strong Impact

They produced in the hands of conductor Jürgen Budday a rich Messiah of unusually strong impact... aided by fine live engineering in the impressive, sonically clear spaces of Germany's Maulbronn Monastery...
This live German recording of Messiah is based on a manuscript Handel marked up for a performance of the work in Dublin, adding a variety of new dynamic markings and ensemble indications. There's no reason to regard it as quite the definitive version of the work that it is proposed to be by the booklet here; it can equally well be considered an experiment on Handel's part in dealing with the new stylistic currents of his day. For listeners unfamiliar with it, this version carries quite a few surprises. Sampling merely the beginning of the "Hallelujah" chorus, CD 2, track 16, is enough to give the listener an idea of what he or she is getting into as the usually muscular entrance of the choir contracts to a quiet, angelic effect. The work becomes much more varied in texture and a good deal less monumental overall.
It would nevertheless be a shame if this recording were pigeonholed among the Dublin versions, for it has a good deal to offer any Messiah listener. Billed as an uncut, historically informed performance, this recording becomes, in the hands of conductor Jürgen Budday, a nice fusion of the immediate feel of the best historical performances (aided by fine live engineering in the impressive, sonically clear spaces of Germany's Maulbronn Monastery) with a rich, more conventional sound from a good-sized German choir, the Maulbronner Kammerchor.
Budday gives the soloists a chance to stretch out in the recitatives. Collectively the performers capture the different strands of Handel's experience - operatic, English Protestant, solo-oriented, and instrumental - that he brought to bear on this magnificent work, and they produce a rich Messiah of unusually strong impact. The live recording has a few flaws, but they are more than overcome by the edge thus generated. Notes are in German and English, the text is in English.

Review by James Manheim - All Music Guide, allmusic.com

Review

***** Absolutely the finest rendition

I am nearly 60 years old and have heard countless versions of Handel's "Messiah" since I was a boy. Recently I decided to purchase the best recording I could find for MP3 use. Wanting the version most faithful to Handel's baroque style, I easily eliminated most of the recordings I "auditioned" due to the overuse of orchestration, usually performed by unauthentic modern instruments. I also did not want to listen to any more wobbly warbling of soloists who seemed to be more intent on overpowering the listener than on communicating the divine message of the scripture text. Nor did I wish to hear any more sloppy choral performances that muddy the words because of the choir size and poor attack.
I had heard other recordings done with "authentic" or "antique" instruments, some of which are fine, but usually one or two of the soloists have left me disappointed. This version has satisfied every one of my wishes. Where have they been hiding? It is totally delightful, and I have no complaint. I can only hope that more persons will become aware of this recording and add their two bits of comments. If you are one of those persons who enjoys heavy vibrato and heavy orchestration, you might not appreciate this fine Baroque recording. But if you are tired of the same old..... then by all means, give it a try. It is refreshing!

'Monergistic Reader' on Amazon.com

Review

***** Superlative

I've heard many, many versions of "Messiah" in my short 27 years, and this is by far the best. One need only listen to the "Hallelujah Chorus" to appreciate this recording - it is at once intimate and majestic. The restraint that the choir demonstrates in the beginning is remarkable, considering that that chorus is normally an unwieldy, overwhelming, incomprehensible mess. It's not lacking for majesty and bombast, but it's there at appropriate places.

'Dweeb' on Amazon.com

Review

***** A clear, beautiful, authentic Messiah

An absolute gem of a Messiah. Definitely in the stream of the great "authentic" recordings of the work (like Christopher Hogwood's fantastic recording so many years before), this one makes the most of a small orchestra and chorus. The performances are all wonderfully beautiful, from the orchestra and the crystal-clear soloists to the all-male choir. There is an elegant restraint shown in this recording that sets it apart, even amongst some of its contemporaries in the authentic-arrangement camp; This is particularly notable in "Hallelujah". Don't confuse elegance and restraint for dull and boring, however. It is anything but that. This version transports the listener. The sound quality is pristine and, recorded live in concert in a large church, captures the wonderful resonance that atmosphere uniquely provides. This is a lesser-known Messiah that stacks up well against other, more noted performances.

Jacob A. Davis on Amazon.com

George Fr. Handel · SamsonGeorge Fr. Handel · Samson
George Frideric Handel:
S A M S O N
The English Oratorio HWV 57,
performed according to the traditions of the time
by Sinéad Pratschke (Soprano), Michael Chance (Countertenor),
Mark Le Brocq (Tenor), Raimund Nolte (Baritone),
David Thomas (Bass), Monastery Baroque Orchestra,
Maulbronn Chamber Choir (Maulbronner Kammerchor)
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
DDD · Double Album · c. 150 Minutes
2 CD
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An impressive oratorio

Samson, an impressive oratorio in three movements Georg F. Handel, is performed in a historical setting by Sinéad Pratschke, Michael Chance, Marc LeBrocq, Raimund Nolte, David Thomas, Maulbronner Kammerchor and Barockorchester der Klosterkonzerte. Juergen Budday conducts this double-CD box set concert recording made at the convent church in Maulbronn in 1999.

New Classics UK

Review

Highly recommended

...The sound in this monastery is excellent. This is a beautiful recording of one of Handel's finest oratorios, and is highly recommended.

Classical Music UK & The British Music Society

Review

***** I could not be happier with this superb recording

I have been listening to Jephtha and Samson quite extensively, and I must say that these two recordings are truly impressive. First, the cast of soloists is an absolutely superb assembly of historically-informed performers. It would be hard to find singers any better than Emma Kirkby, Steven Varcoe, Michael Chance. I found all of the performances by the soloists nearly impeccable.
Second, I suspected that the recordings themselves might be filled with ambient and background noises since these were the result of live performances.
I have been extremely pleased with the technical aspects of the recordings: they are 'clean' and clear with very little extraneous sounds. The engineering of these recordings is highly commendable!!
Finally, the orchestral playing by the Barockorchester der Klosterkonzerte and the participation of the Maulbronner Kammerchor are nearly flawless. The string playing is especially strong, and the choruses - filled with drama and emotion - are executed at the highest possible level. Even the pronunciation and intonation of the English is perfect.
In sum, I could not be happier with these two superb recordings. Already possessing several recorded versions of each of these masterful oratorios, I felt that it would be difficult to match the strength and quality of, for example, the performance under John Elliot Gardiner.
These two new additions by K&K Verlagsanstalt to the recorded Handel repertoire are magnificent models, exemplary of how to bring these monumental works to life for the modern audience. The crisp, clear recording, the excellent engineering, the incredible acoustics, the superb performances make these two of the best Handel compact discs I have purchased in a long time.
I should be most happy if you would keep my name on your mailing list, since I would like to be informed when your fine enterprise releases any more Baroque repertoire. These are performances to be treasured and are of the highest caliber of historically-informed practice.

Thomas R. McCallum (USA) on Amazon.com

George Fr. Handel · SaulGeorge Fr. Handel · Saul
George Frideric Handel:
S A U L
The English Oratorio HWV 53, performed according to the traditions of the time
by Nancy Argenta (Soprano), Laurie Reviol (Soprano),
Michael Chance (Countertenor), Mark Le Brocq (Tenor),
Michael Berner (Tenor), Stephen Varcoe (Bass), Steffen Balbach (Bass),
Hanoverian Court Orchestra (Hannoversche Hofkapelle),
Maulbronn Chamber Choir (Maulbronner Kammerchor)
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 150 Minutes
2 CD
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***** A superb listening treat

LIVE PERFORMANCE FROM MAULBRONN BRINGS 'SAUL' TO LIFE!
I have just finished listening to the oratorio 'SAUL' from Maulbronn conducted by Jurgen Budday. It leaves me breathless with it's high drama and excellent singing. The fact that this is a LIVE performance makes it all the more exciting to hear... This is a superb listening treat!

George Peabody 'Ariel' on Amazon.com
(A voice teacher and early music fan from Carlisle, Pa. USA)

Review

Spendidly performed

Georg Frideric Handel’s glorious oratorio in three movements, Saul, is splendidly performed here in English by Nancy Argenta, Laurie Reviol, Michael Chance, Mark LeBrocq, Michael Berner, Stephen Varcoe and Steffen Balbach, together with the Hannoversche Hofkapelle and Maulbronner Kammerchor, conducted by Juergen Budday. This atmospheric concert recording was made in 2002 in the historical setting of the beautiful convent church of Maulbronn. Other albums in the beautifully produced Maulbronn Edition from K & K include performances of Gounod’s Missa Solemnis (ISBN 3-930643-63-4) and an cappella concert, Goettliche Liturgie, with Don Kosaken singing works from the Russian Missa (ISBN 3-930643-72-3). For more informion, see the K&K website.

new-classics.co.uk

Review

***** Five Stars

Enjoyed it greatly

Sally Ann Mcallister on Amazon.com

George Fr. Handel · SolomonGeorge Fr. Handel · Solomon
George Frideric Handel:
S O L O M O N
The English Oratorio HWV 67,
performed according to the traditions of the time
by Nancy Argenta (Soprano), Laurie Reviol (Soprano),
Michael Chance (Countertenor), Julian Podger (Tenor),
Steffen Balbach (Bass), Hanoverian Court Orchestra
and Maulbronn Chamber Choir
Conductor: Jürgen Budday.
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 150 Minutes
2 CD
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I assure you that all Oratorios from Maulbronn are first-rate

This CD is the first one that I heard from Maulbronn and I was stunned by the entire performance! It was exciting both vocally and instrumentally; I found it impossible to pause even for sustenance. Jurgen Budday has assembled a great lineup of soloists who projected their respective roles perfectly. For the most part the words of the chorus were understandable and created the proper dramatic tension. Michael Chance as Solomon displayed his usual skill in getting inside the role and the songs. The scene with the 2 harlots who were both claiming the same child was compellingly realistic. So many great songs by Handel on this disc I wouldn't want to have missed it! Since then I have purchased 4 more Oratorios from Maulbronn.
I assure you that they are all first-rate!

George Peabody 'Ariel' on Amazon.com - A voice teacher and early music fan from Carlisle, Pa. USA

Grand Piano Masters · Piano Concertos by Beethoven & UstvolskayaGrand Piano Masters · Piano Concertos by Beethoven & Ustvolskaya
Grand Piano Masters
Piano Concertos by Beethoven & Ustvolskaya
Ludwig van Beethoven (1770-1827):
Piano Concerto No. 2 in B-Flat Major, Op. 19
World Premiere Recording of the version for Piano & String Orchestra
by Vinzenz Lachner (1811-1893)
Galina Ustvolskaya (1919-2006):
Concerto for Piano, Strings & Timpani
With courtesy of Hans Sikorski Music Publishing Hamburg
Patricia Hase (Piano) · Ensemble Galina
Conductor: Peter Leipold
A concert recording from the Richard-Jakoby-Hall
of the Hanover University of Music, Drama & Media in Germany
HD Recording · DDD · c. 49 Minutes
CD
EUR 22,00SpotifyDeezerNapsterGoogle PlayApple MusicAmazon MusicTidalQobuziTunes MasteredFor...Presto Classical HDeClassical HDPrime Phonic HDReview

Featured on Spotify

This release is featured in the editorial playlist on Spotify​:
COMPOSER WEEKLY: GALINA USTVOLSKAYA

Spotify Editorial

Review

***** Wonderful performance and very good recording quality

Wonderful performance and very good recording quality. I love the beauty of the interpretation and the combination of the two works!

An Amazon Customer on July 31, 2016 - Customer Rating: 5 stars out of 5

Review

Featured on Spotify

This release is featured on the Spotify list of 50 notable classical new releases

Spotify Editorial

Review

The first recording played without blunders is out!

The first recording of the Concerto for Piano, Strings & Timpani played without blunders is out!

'Galina Ustvolskaya official' on Facebook

Review

The Hannover-based pianist Patricia Hase has just released the Grand Piano Masters: Concertos by Ludwig van Beethoven (1770-1827) & Galina Ustvolskaya with conductor Peter Leipold and Ensemble Galina in with the record label K&K Verlagsanstalt this summer. A coffee addict and an avid reader who listens to German rap band Cro when she works out, Patricia tells primephonic’s Rina Sitorus about the new recording and her biggest wish in music.
Could you tell us about your newest album?
It’s very special for me to have recorded this album, because the conductor Peter Leipold and I are very close friends for many years now. It is so special for me to have this album recorded with him and the orchestra, Ensemble Galina. These wonderful concertos of Beethoven and Galina Ustvolskaya are two works which I'm addicted to.
Beethoven really is one of my favorite composers. It feels very natural for me to play his music. His early concertos are so fresh and full of spirit. The orchestra is young, the conductor is young, and I am young, so it was great to bring the spirit out of Beethoven's early works from his younger years. And Galina Ustvolskaya is one of the most impressive composers I've ever encountered. She was so strict and her music is uncomprimising, which really impressed me. I have a feeling that she really wanted to say something and not just merely make nice music.
The combination comes naturally - both works were written when the composers were young. I find that music written in that time of a person’s life actually says so much about our world today. It's hard to say which one I like better, I like both works just as much.  
You mention that the music is a reflection of the world today. Could you elaborate on that?
I think the main themes are always the same: love, passion, death, religion. What Beethoven wrote are the same main themes which belong to us today. It's really important to show the audience that his music is absolutely modern and it is important for us to get connected to our feelings and our lives. 
With all that in mind, I suppose you had had some kind of overall theme or mood in the back of your mind prior to the recording. Are you pleased with the final outcome?
Yes I had a very clear idea of how it should sound and how the music should feel. I was very hard on myself during the preparation – everything had to be better and better. But then, this recording was special because it was a live recording, so we only had one chance to get it right. So I stopped thinking when I entered the stage. My wish in that moment was to give everything I have and to leave my heart at that place, at that moment. Beforehand, I had been thinking it through so much, but once it started, I just let go, had fun and felt what was in the air. Maybe that’s what music is all about.
I hope one can hear that from the album.
Tell me about the audience during the recording.
It is always so interesting to see the audience. Their reactions are always so different every time. Every concert is very different but there is always a special atmosphere.
I remember the audience during the last recording so well. It was so quiet in the hall. It was in my hometown, Hannover, and there were many people in the audience who I knew. They were crossing fingers and I could feel that!
It was also so nice that backstage, right before we started, we all came together, for a big hug and I had the feeling that we had a great connection together. I had a feeling that everybody would give the best of what he or she can. It was such an amazing feeling, knowing that everybody wants to give their best. 
How would you describe the collaboration between you, Peter Leipold and Ensemble Galina?
Well, Peter and I know each other for many years and I learned so much about music from him. I performed my first piano concerto with him conducting. Then there was a time when we were just thinking: ‘We know so many wonderful musicians, why don't we bring them together and see what happens?’ We are professional colleagues but we are also really good friends with a good connection. I think people can hear it on the album, that when we come together, there is such a nice atmosphere. To play this first recording with so many friends on stage playing together was so amazing. I feel so proud when I see the album.
Is it too early to ask about how the reaction to your latest album has been?
We got so much feedback – the media wrote very very nice things about us! Konstantin Bagrenin, Galina’s widower, wrote us a letter and he was really impressed and that his wife would have loved it. I think I could cry!
What can we expect in the near future?
The label KuK wants to make another recording with me and maybe with the orchestra. We are still brainstorming about the project, but we have cool ideas, though we have to keep it secret at the moment. But don't you worry, more is coming!
What about your own project(s)?
Well I have a lot of concerts planned, and there is a possibility of a solo recording. It could be Schubert, my other favourite composer.
Where will you be in 10 years?
I hope I can play piano and continue being on stage for my whole life. It'll be great if I get the chance to make music and keep going in this very special and wonderful direction. But you never know what’s going to happen. I'm completely relaxed, so we'll see – the rest will come.
Any names you'd like to work with?
I really really like the violinist Isabelle Faust. It would be great for me to play with her, and I also really like the pianist Maria João Pires. I think she's so absolutely amazing. And so many conductors! Maybe to play once with the Berlin Philharmonic – of course that is the dream of every musician, I think. I played a lot with horn player Felix Klieser. These were such amazing experiences and maybe there's another chance to play with him again.
What do you do when you're not busy with recordings or concerts and how do you balance your music with other obligations, such as friends and family?
I really like to play sports and I'm addicted to coffee and chocolate. Sitting in a cafe, having a nice coffee while talking to a friend: that is the real Patricia. And I also like reading: from criminal stuff to music, biographies, funny stuff; I read everything!Balancing my music with the rest is much easier than I had thought it would be. I have many friends from all over the world which is perfect, since in most cities I play, there is somebody I know. I'm very connected to them through technology. And my family lives all over the world, so I'm used to that. I think the point is, they've already known me this way since the beginning. Because I also make music together with friends, we can combine friendship and the work. Sometimes during rehearsals with the orchestra we really have to be careful that we are not only talking about other [non-musical] stuff. People bring cakes, and during break we can talk about 'important private' stuff!
What is your biggest wish as a musician?
To break the distance between the audience and the people on stage. Sometimes I feel that the people in the audience are just watching the people who are on stage, so I find it important to get everything connected.
How would you achieve that?
I often talk to the audience and explain something about the works. Other times I tell them what I feel when I play, or just ideas of what it could be and leave it open, so that we can discuss it afterwards. For me it is interesting to know what the audience thinks. It makes it more alive and brings it closer to the present day.

Patricia Hase, in conversation with primephonic's Rina Sitorus

Handel/Mozart · The Messiah / Der Messias K. 572Handel/Mozart · The Messiah / Der Messias K. 572
Handel / Mozart:
Der Messias (Messiah)
Complete recording of Mozart's reorchestration and arrangement
of the English oratorio HWV 56 by George Frideric Handel (sung in German),
performed according to the traditions of the time
by Marlis Petersen (Soprano), Margot Oitzinger (Alto),
Markus Schäfer (Tenor), Marek Rzepka (Bass),
the Hanoverian Court Orchestra and the Maulbronn Chamber Choir
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 133 Minutes
2 CD
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A superior version of Mozart's unique effort

Mozart's arrangement of Handel's Messiah, made in 1789, relates to his involvement in the circle of musical connoisseurs surrounding the Baron Gottfried van Swieten, Viennese nobleman and aficionado of the monuments of Baroque music. It is, as the booklet here aptly puts it, a "cover version" (the German participle, charmingly enough, is "gecovert") of Handel's work, neither a radical rethinking nor a light rescoring.
Mozart adds a good deal of wind scoring, often arranging things so that the winds peek out with a wink toward the end of an aria. The treatments of the flute and bassoon are playful and very Mozartian, yet the music, with the exception of one number, "Wenn Gott ist für uns" (CD 2, No. 23), is Handel's. Even that number, in which the original aria is discarded in favor of a new recitative, has subtle echoes of the original intervallic structure in Mozart's new music, and in the big choruses Mozart plays it straight.
The biggest change for the casual listener is the one from English to the German of van Swieten himself, working from an earlier translation by Friedrich Klopstock and Christoph Ebeling. If "Alle Tale" does not have quite the ringing quality of "Ev'ry valley," "Herr der Herrn, der Götter Gott" gets the message across. Conductor Jürgen Budday, leading the Hannoversche Hofkapelle, offers a spirited reading that reveals many of the score's smaller details. Although the soprano of Marlis Petersen is a bit outsized for a work that was originally performed with only 12 singers and has, for all the monumentality of Handel's Messiah, a certain intimate quality, this is a superior version of Mozart's unique effort, benefiting from the edge of live performance in a sonically spectacular venue. The booklet is helpful, quoting extensively from a detailed eighteenth century essay on Mozart's effort.

Review by James Manheim - All Media Guide, allmusic.com

Review

A really excellent production with vitality and great energy

The small but enterprising German label K&K continue to regale the discerning collector with lavish productions of selected works in the magnificent setting of the UNESCO World Heritage Maulbronn Monastery in Germany.
After releasing what can only be termed as a rather excellent 'Messiah' they have now turned their attentions to the Mozart arrangement of the same work sung in German. With such miraculous acoustics available, the recording is truly a sonic gem especially with the distinguished and alert playing of the Hannover Chamber Orchestra which infuses the orchestral parts Mozart composed with vitality and great energy.
The quartet of soloists does not include any real big names but they are all of the highest quality. I was particularly taken with Marlies Peterson whose ethereal capacity for high notes reminds one of the more highly rated Renée Fleming. Rzepka is also very strong as the bass whilst the monastery choir sings with élan and perfect diction, being here on home ground.
Booklet notes are suitably ample as are the recording details which include some stunning photographs of the performance. If you are looking for a high quality 'Messiah' in the Mozart arrangement, then you should look no further than this really excellent German production.

Gerald Fenech on Classical Net

J. S. Bach · Mass in B MinorJ. S. Bach · Mass in B Minor
Johann Sebastian Bach
Mass in B Minor, BWV 232
Performed according to the traditions of the time
by Joanne Lunn (Soprano), Ursula Eittinger (Mezzo-Soprano),
Marcus Ullmann (Tenor), Gotthold Schwarz (Bass),
Hanoverian Court Orchestra (Hannoversche Hofkapelle),
Maulbronn Chamber Choir (Maulbronner Kammerchor)
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 112 Minutes
2 CD
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I am bowled over by the quality... Fantastic!

Yesterday I received the B Minor Mass and I am bowled over by its quality... Fantastic! As always from K&K...

Gerald Fenech on Facebook

Review

This recording is nothing less than superb...

As always this enterprising German company issues beautifully recorded CD sets of choice and eclectic music but it has reverted back to its original oratorio and sacred course with this monumental recording of Bach's sublime B Minor Mass. The recording in the wonderful surroundings of the Maulbronn Monastery is nothing less than superb with ideal balance between chorus and orchestra and with the soloists on pretty much top form throughout. Jürgen Budday conducts with extreme sensitivity throughout and his tempi are extremely well judged especially in the drawn out "Kyrie" and the irrepressible energy of the "Gloria in excelscis Deo" culminating in a "Dona nobis pacem" of almost spine tingling beauty. The chorus sings with knowledgeable integrity whilst all four soloists contribute in their own special way to the performance as a whole with Ursula Eittinger particularly ravishing....

Classical Net

Louis Spohr · The Last JudgementLouis Spohr · The Last Judgement
Louis Spohr (1784-1859):
The Last Judgement
The oratorio "Die letzten Dinge"
based on verses from the Holy Scripture
in a complete live recording of the original version from 1826, sung in German,
with Miriam Meyer (Soprano), Ursula Eittinger (Mezzo-Soprano),
Marcus Ullmann (Tenor), Josef Wagner (Bass),
Maulbronn Cantor Choir (Kantorei Maulbronn),
Russian Chamber Philharmonic St. Petersburg
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · c. 81 Minutes
CD
EUR 22,00SpotifyDeezerApple MusicAmazon MusicTidaliTunes MasteredFor...Qobuz HDeClassical HDPresto Classical HDHD TracksReview

5 stars out of 5 stars

Customer Votes on EMusic

Review

Spohr'’s second oratorio concerns both:
the Apocalypse and the Last Judgement

This was Spohr’s second oratorio and was written in Kassel between 1825 and 1826. The libretto, in two parts, was by Johann Friedrich Rochlitz (1769-1842) and concerns both the Apocalypse and the Last Judgement. The overture is a powerful utterance, finely put together, and orchestrated adeptly. The choral entries are often arresting, and the accompanied recitatives show awareness of oratorio antecedents but are sufficiently flexible to convince on their own terms. At its best the work impresses through a felicitous sense of word-setting and layering; the choral responses are indeed sensitively shaped. The fourth movement, with a tenor solo and chorus, calls for a repeated ‘Heilig’ and the chorus’s soft, reverential repetition vests the music with great reflectiveness and elegiac quality. Then too Spohr doesn’t stint the opportunities for some good old-fashioned fugal development. Its employment halts the narrative somewhat but is certainly incisive; that in the seventh section is very definitely reminiscent of Handel. Spohr shows in the Sinfonia introduction to the second part just how well he wrote for orchestral forces and in the Babylonian chorus (No.15) demonstrates a sure instinct for the dramatic crest of a movement. In the concluding fugal Hallelujah section he reprises the kind of Handelian statements he’d earlier established in the first part of the oratorio. There are some Mozartian touches here and there, more stentorian Beethovenian ones too, in addition to the sometimes pervasive Handelian aspect. ...

Jonathan Woolf, Musicweb International - www.musicweb-international.com

Review

Qobuz Hi-Res Audio

Awarded by Qobuz with the "Hi-Res Audio" March 2012.

Qobuz

Review

The listener is engrossed in what is going on from first note to last

This enterprising German label has recently served up some wonderfully crafted chamber and choral performances and this discovery by Spohr is no exception. Apparently 'The Last Judgement' (Die letzten Dinge - 1825/6) was an extremely popular oratorio in its heyday but it unfortunately fell by the wayside and is little heard today. Spohr treats the text with reverence and respect and although the music rarely rises above the mundane, the soloists and Budday ensure that the listener is engrossed in what is going on from first note to last. This is a worthwhile revival from the Spohr canon which deserves much wider currency.

Gerald Fenech on Classical Net

Max Bruch · MosesMax Bruch · Moses
Max Bruch:
M O S E S, Op. 67
German Oratorio in Four Parts,
performed by Peter Lika (Bass),
Birgitte Christensen (Soprano), Stefan Vinke (Tenor),
the Maulbronn Cantor Choir (Kantorei Maulbronn)
and the Russian Chamber Philharmonic St. Petersburg
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 120 Minutes
2 CD
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An excellent project and a grandiose Performance

K&K is not a label that comes readily to mind, but after listening to this version of Bruch's Oratorio, it is certainly one that should be given more scrutiny. German based, it is totally devoted to publishing outstanding concerts of mostly sacred works recorded live in the natural ambience of Maulbronn Monastery.
The aim of all this is to make the listener experience the intensity, not only of the music but of the occasion as well. Bruch's 'Moses', premiered in January 1895, is a truly eloquent and uplifting piece very much in the 'Elijah' tradition although I found the choral writing a hint Mendelssohnian. Apparently, Brahms did not think very highly of it but Bruch revealed that it was the fruit of inner strength that enabled him to complete this work.
I enjoyed the work immensely notwithstanding Brahms' advice and found much to savour in the memorable tunes that permeate the solo numbers with Moses' death particularly moving. Both soloists and choir rise magnificently to the occasion, delivering performances that are grandiose yet saturated with a humanity that was so evident in Israel's rapport with God. The Russian Chamber Philharmonic play full bloodedly and with conviction under Jurgen Budday, who while keeping a tight reign on proceedings, allows the performance to flow with a natural ease.
An excellent project that deserves every plaudit for its unique Enterprise.

Gerald Fenech on Classical Net

Max Bruch · MosesMax Bruch · Moses
Max Bruch
M O S E S
German Oratorio Op. 67 in Four Parts,
performed by Peter Lika (Bass), Birgitte Christensen (Soprano),
Stefan Vinke (Tenor), the Maulbronn Cantor Choir (Kantorei Maulbronn)
and the Russian Chamber Philharmonic St. Petersburg
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Duration: 120 Min. 55 Sec.
Digital Double Album · 15 Tracks
MP3

MP3 Album

320 kBit/sec.

EUR 19,80SpotifyDeezerNapsterApple MusicTIDALAmazon MusiciTunes MasteredFor...Qobuz HDPrime Phonic HDeClassical HDPresto Classical HDReview

An excellent project and a grandiose Performance

K&K is not a label that comes readily to mind, but after listening to this version of Bruch's Oratorio, it is certainly one that should be given more scrutiny. German based, it is totally devoted to publishing outstanding concerts of mostly sacred works recorded live in the natural ambience of Maulbronn Monastery.
The aim of all this is to make the listener experience the intensity, not only of the music but of the occasion as well. Bruch's 'Moses', premiered in January 1895, is a truly eloquent and uplifting piece very much in the 'Elijah' tradition although I found the choral writing a hint Mendelssohnian. Apparently, Brahms did not think very highly of it but Bruch revealed that it was the fruit of inner strength that enabled him to complete this work.
I enjoyed the work immensely notwithstanding Brahms' advice and found much to savour in the memorable tunes that permeate the solo numbers with Moses' death particularly moving. Both soloists and choir rise magnificently to the occasion, delivering performances that are grandiose yet saturated with a humanity that was so evident in Israel's rapport with God. The Russian Chamber Philharmonic play full bloodedly and with conviction under Jurgen Budday, who while keeping a tight reign on proceedings, allows the performance to flow with a natural ease.
An excellent project that deserves every plaudit for its unique Enterprise.

Gerald Fenech on Classical Net

Mendelssohn · ElijahMendelssohn · Elijah
Felix Mendelssohn
Elijah / Elias
German oratorio Opus 70 in two movements,
performed by Peter Lika, Heidi Elisabeth Meier,
Jolantha Michalska-Taliaferro, Hans Peter Blochwitz,
Maulbronn Cantor Choir (Kantorei Maulbronn),
Members of the SWR-symphony-orchestra Baden-Baden and Freiburg
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 136 Minutes
2 CD
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An Elijah as a devout and moving experience...

This Elijah is both: calming and very beautiful (listen to the octet 'Denn er hat seinen Engeln befohlen' or the divine quartet 'Wirf dein Anliegen auf den Herrn'). Of course once Elijah has done his bit and the Real God performed the much asked-for miracle, the choir are full of joy and sing their hearts out. But this incident typifies this whole performance. Although it was recorded live there is neither any evidence of an audience present nor any tangible sense of occasion in this performance, but there is a strong sense of being in a place of worship, not just in occasional glimpses of the monastery's lavish acoustic but also in Jürgen Budday's restrained direction, allowing his singers to relish the work's more devout moments and never trying to force the pace. So we have some of the slowest tempi on disc. The choir clearly are at ease with Budday's approach and produce a glorious luminosity in such reflective choruses as 'Siehe, der Hüter Israels'. Also the superb soloists are all utterly convincing in their roles: Jolanta Michalska-Taliaferro is a magnificently wicked Queen as she spits out her venom against Elijah, while Heidi Elisabeth Meier could hardly be more angelic as she calmly exhorts Elijah to 'Rest in the Lord' (after his profoundly moving 'Es ist genug'). Polished orchestral playing further enhances Budday's interpretation of the work as a profound statement of Christian faith, while the recording is as flawless as one would expect from a state-of-the-art studio, let alone a 12th-century monastery.

Marc Rochester, Gramophone Magazine

Review

***** Excellent

5 Stars (out of 5 Stars)

An Amazon.uk customer on 5 Mar. 2016 (Verified Purchase of the CD)

Mozart · Piano Concertos I · Nos. 17 & 23Mozart · Piano Concertos I · Nos. 17 & 23
Wolfgang Amadeus Mozart:
Piano Concertos I
Wolfgang Amadeus Mozart:
Concerto No. 17 in G Major, K. 453
& Concerto No. 23 in A Major, K. 488
Christoph Soldan (Piano)
Cappella Istropolitana
Conductor: Pawel Przytocki
Concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
DDD · c. 60 Minutes
CD
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***** Stunning acoustics

This monastery is world famous. Spectacular decay, luminous sound, superb performances... Try this series and see what you think.

'John K.' on Amazon.com

Review

A wonderful Disc

This wonderful disc recorded in the splendor of the Maulbronn Monastery continues to cement K&K's reputation as a purveyor of quality classical music. Their Mozart piano concerto series has so far been quite exquisite on all counts this time with Christoph Soldan at the piano. KV453 floats along quite merrily, especially in the broad Finale which has the Capella Istropolitana playing like angels, ably directed by Pawel Przytocki. The same goes for KV488, one of the miracles of Mozart's piano concertos which can easily hold its own with former greats in the genre such as Wilhelm Kempff and Géza Anda. My only gripe in this series is the paucity of notes which accompany the issues otherwise both recording and interpretation are of impeccable quality throughout. Those who are collecting this fine series really need not hesitate in any way and should go ahead with purchasing this issue.

Gerald Fenech on Classical Net, Copyright 2009

Musique baroque de TelemannMusique baroque de Telemann
Wolfgang Bauer Consort
Musique baroque de Telemann
The Wolfgang Bauer Consort plays works by Georg Philipp Telemann (1681-1767),
performed according to the traditions of the time:
Concerto in D for trumpet, 2 violins & B.C. ~ Concerto a 3 Clarin, Tympani, 2 Violin, Viola e Cembalo ~ Violin Sonata in A ~ Trumpet Concerto No. 2 ~ Sonatas "Sabato" & "Domenica" ~ Ouverture in D.
Soloists: Wolfgang Bauer (Baroque Trumpet), Dietlind Mayer (Violin), Petra Müllejans (Violin), Ludwig Hampe (Viola), Georg Siebert & Ingo Goritzki (Oboe)
A concert recording from the church of Monastery Maulbronn
HD Recording · DDD · c. 73 Minutes
CD
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*****This is incredible! There are no tracks that I want to skip

This is incredible! I enjoy baroque music but am in no way a classical music buff. I had never known of Telemann until I happened upon this by chance. I heard an excerpt that totally caught my attention when I was flipping through car radio stations. It was so fetching that I immediately had to search the web to find out about Telemann & this CD. Luckily I found it. It is so tasteful. The 35 short concertos flow so well together & provide enough variety to keep it engaging using instrumentation original to the baroque era. None of it is irritating. There are no tracks that I want to skip. The lead trumpet, violin, etc. are clean , light , skillful. This CD is so beautifully done, and it has a positive effect on the soul. Highly Recommend.

TealBlue02 'TealBlue' (Mason Dixon Line, MD/DE) on Amazon

Review

Great music by a brilliant composer played by a superb ensemble

'Bachanalia' on eMusic.com

Review

The striking ambience of this particular recording was truly eye-opening...

This fine disc is yet another in the stunning series of CDs produced by the enterprising Josef-Stefan Kindler and Andreas Otto Grimminger and recorded in the sublime acoustic of the UNESCO World Heritage site of the Maulbronn monastery near Heilbronn in Germany. Telemann has become quite well served on record of late but this eclectically mixed concert is a joy just to sit back and relax with the sounds of trumpet, string instruments and clarinets competing for attention. I have recently had the opportunity to listen to several CDs from the Concentus Musicus Wien in numerous Telemann works but the striking ambience of this particular recording was truly eye-opening. Each soloist led by the able virtuoso Wolfgang Bauer brings the works to life in an uncanny sense of historically informed music making. This is a joyful disc which deserves the widest possible currency.

Gerald Fenech on Classical Net

Rossini: Stabat Mater & Gounod: Missa SolemnisRossini: Stabat Mater & Gounod: Missa Solemnis
Double Album
Rossini: Stabat Mater
Gounod: Missa Solemnis
Performed by the Maulbronn Cantor Choir,
Svetlana Strezeva (Soprano), Jolanta Michalska-Taliaferro (Alto),
Willi Stein (Tenor), Nikita Storojev (Bass)
and Members of the SWR-Symphony-Orchestra Baden-Baden & Freiburg
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
DDD · Double Album · c. 130 Minutes
2 CD
EUR 33,00SpotifyDeezerApple MusicAmazon MusicTidaliTunesReview

***** Wonderful

I think this is the most beautiful music composed and performed. Fortunately it comes with a translation of the Latin.

A. H. Eschenfelder on Amazon.com
(Verified purchase of Gounod's Missa Solemnis)

Review

Wonderfully performed

Charles Gounod's first passion was for clerical music and his Messe solonelle de Sain-Cecile is one of his most beautiful works, filled with marvellous melodies. Gioacchino Rossini turned to religious music later in life and his Stabat Mater is almost opera-like with its sweeping melodies and drifting rhythms. Both pieces are wonderfully performed in this concert recording in which the glorious Maulbronn Choir, conducted by Juergen Budday, is joined by soloists Svetlana Strezeva (soprano), Jolanta Michalska-Taliaferro (mezzo soprano), Willi Stein (tenor), Nikita Storojev (bass) and members of the SWR-symphony-orchestra Baden-Baden & Freiburg.

John Pitt, New Classics UK

Review

***** Very Happy

Beautiful recording and so happy I was able to find this for my mother…. At 87 she does not ask for much! But she wanted to hear this.

Daragh Coulter on Amazon.com
(Verified purchase of Gounod's Missa Solemnis)

Review

***** Welcome Home

Just one of those major works that you always adored and never took the time to add to your library. For those of us getting to the more senior side of being senior citizens,my heart bursts with love on hearing the Sanctus. Every time!

'SENIORNERD' on eMusic.com about this recording of Gounod's Missa Solemnis

Sarah Wegener & Ensemble il capriccio · Arias & CantatasSarah Wegener & Ensemble il capriccio · Arias & Cantatas
Sarah Wegener & Ensemble il capriccio:
Arias & Cantatas
Sarah Wegener (Soprano) and the ensemble il capriccio
performs according to the traditions of the time:
George Frideric Handel ~ Gloria (Cantata) · Overture (Rinaldo) · Furie terribili · Lascia ch'io pianga · Se pietà di me non senti · Da tempeste · Farewell ye limpid springs · Eternal source of light divine
Henry Purcell ~ When I am laid · O let me weep · Fantasy upon a Ground
Giovanni Battista Ferrandini ~ Se d'un Dio · Scottish Traditional ~ Auld Lang Syne et.al.
Concert Master: Friedemann Wezel
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · c. 76 Minutes
CD
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A rich and warm voice in a splendidly recorded and produced release

Sarah Wegener enthralls listeners with the richness and warmth of her voice and approaches every role in a chamber musical way. She regularly works with Kent Nagano, Philippe Herreweghe, Thomas Hengelbrock, Heinz Holliger, Michael Hofstetter and Frieder Bernius. She studied with Professor Jaeger-Bohm in Stuttgart and took part in master classes with Dame Gwyneth Jones and Renee Morloc.
Here, Sarah performs with the Ensemble Il Capriccio arias and cantatas from the baroque era, thematically enhanced with modern compositions. The release documents a concert at the church of the German UNESCO World Heritage Site Maulbronn Monastery in Germany 2015, splendidly recorded and produced by Andreas Otto Grimminger and Josef-Stefan Kindler for their series "Maulbronn Monastery Edition".

Presto Classical, November 2016

Schubert: Symphony No. 8 & Mendelssohn: Symphony No. 3Schubert: Symphony No. 8 & Mendelssohn: Symphony No. 3
Authentic Classical Concerts
Schubert: Symphony No. 8
& Mendelssohn: Symphony No. 3
Franz Schubert:
Symphony No. 8 in B Minor, D 759 "The Unfinished"
Felix Mendelssohn Bartholdy:
Symphony No. 3 in A Minor, Op. 56 "The Scottish"
performed by the New Symphony Orchestra Sofia,
conducted by Petko Dimitrov
A concert recording from the National Palace of Culture in Sofia (Bulgaria)
DDD · c. 64 Minutes
CD
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A memorable performance

Young players excel in compelling live performances of two favourite symphonies
The members of the New Symphony Orchestra, drawn from the Sofia Radio Orchestra, are a comparatively young ensemble founded in 1971. The writer of the insert-note suggests that their musical style is "sentimental, due to the members' experience recording film music". Sorry, but there is no trace of sentimentality in either performance. Instead, here is a superb example of the intense concentration that can come with live musicmaking from eager young players, well rehearsed, in front of a receptive audience.
In the Scottish Symphony, the character of the playing combines an effervescing vitality and a natural Slavonic warmth, particularly from the full-toned strings. Petko Dimitrov shapes Mendelssohn's lovely lyrical opening with an appealing simplicity, and in the first climax of the vivace of the exposition his surge of animation has the players all but scampering in their exhilaration. The one snag is that the important exposition repeat is, alas, omitted. The scherzo sparkles, the slow movement is beautifully shaped yet has a sombre underlay which prevents any suggestion of blandness, and after the dancing vivacissimo the close of the finale is expansive, almost Klemperer-like in its spacious grandeur. Overall, a performance of much character.
Schubert's Unfinished is even finer, the epitome of Romanticism, the quiet opening mysterious, darkly evocative, yet with incisive drama soon to offset the lyricism. Here the exposition repeat is played, and used to build an onward propulsion which is very compelling. Dimitrov's modest change of pace for the exquisitely gentle opening of the second movement is perfectly judged, and the arrival of the secondary theme is beautifully prepared by the violins. The woodwind contributions, first the clarinet (2'06'') and the naturally following, equally delicate oboe (2'36'') are almost like a question and answer, before the drama of the bold trombone-dominated tutti (2'56'') which is arresting without being coarse.
But it is the gently ruminative quality of the playing - of wind and strings alike - that makes this performance so memorable. The interplay between apparent serenity and the music's bolder progress is like a contrast between twilight apprehension and the daylight assertion of life's irrepressible advance, with a haunting sense of resignation conveyed in the movement's guileless closing bars. The concert hall recording was made in simple 'two-track stereo' and the effect is real, slightly distanced, but tangible. Most rewarding.

Ivan March, Gramophone Magazine

Soundscape Rastatt Favorite Palace: GallantrySoundscape Rastatt Favorite Palace: Gallantry
Soundscape Rastatt Favorite Palace
Galanterie · Gallantry

The Quantz Collegium plays
Concertos for Flute, Viola, Strings & Basso continuo:

Christoph Graupner (1683-1760): Concerto for Viola in D Major, GWV 314

Friedrich Wilhelm Heinrich Benda (1745-1814): Concerto for Flute in G Major, Op. 4.1

Georg Philipp Telemann (1681-1767): Concerto for Viola in G Major, TWV 51:G9

Christoph Graupner (1683-1760): Concerto for Flute & Viola in D Minor, GWV 725

Artistic Director: Jochen Baier

A live recording from Rastatt Favorite Palace in Germany

HD Recording · DDD · Duration: c. 59 Minutes

CD
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The Rastatt Favorite Palace in Germany

This concert took place in the "Sala Terrena" (Garden Hall) of Rastatt Favorite Palace (Schloss Favorite Rastatt) in Germany. The Palace is the oldest German "porcelain palace" and the only one to survive almost unchanged to this day. The palace and the garden are one of 60 historic monuments in the Germany's Southwest. The "State Organisation for Palaces and Gardens of Baden-Württemberg" (in German: "Staatliche Schlösser und Gärten Baden-Württemberg") makes accessible, communicate, develops and preserves these state-owned historic monuments with the aim of preserving the authenticity of the cultural heritage, filling them with life and preserving them for future generations. Detailed information about these unique "Soundscapes" can be found at: www.schloesser-und-gaerten.de


Review

***** A memorable mash-up

A musical revolution occurred in about 1720, with the "style galant" replacing the more learned and complicated music in vogue before then. K&K Verlagsanstalt, which specializes in audiophile recordings made in historic churches and palaces, has put together a winning project here, with the venerable Quantz Collegium (established in 1936) performing highly appealing music from the Garden Hall of the Rastatt Favorite Palace in Baden-Württemberg. Recorded at two live concerts, we have here four concertos for viola or flute, or both, by Graupner, Telemann and FWH Benda, all written in the accessible, tuneful new style. Mention should be made of Josef-Stefan Kindler's superb photos in the CD notes, which I at first took for paintings in the Rococo style of Tiepolo. They capture both the spirit of the original music and venue and that of the Quantz Collegium and K&K's Historically Informed reconstructions.
"Every current of fashion or of worldview", says Walter Benjamin in The Arcades Project, "derives its force from what is forgotten." Three centuries on, the stripping down of J. S. Bach's erudite polyphonic puzzles can seem, according to one's sensibilities or mood, either a vital breath of fresh air or a savage dumbing down for the kind of mindless 18th century twits personified by Hugh Laurie's Prince George in Blackadder's Third Series. Luckily we can still take pleasure in the simple joys of melody and a direct and honest, if sometimes guileless, clarity. This music is well-crafted, but the strongest movements, those in Telemann's Viola Concerto especially, can seem very much self-aware. It won't be long before the streamlining process leads to a new round of mannerist complexities.
Though one won't find the final degree of authentic style from the Quantz Collegium, including the three soloists, flutist Jochen Baier and violists Agata Zieba and Killian Ziegler, there is much to admire in these performances. The admirably spare technology and truly galant way of playing combined with the elaborate costumes and the rococo porcelain excesses of the venue make for a memorable mash-up.

Dean Frey on several-instruments.blogspot.com and on Arkiv Music

The Art of Conduction · Dvorak & MozartThe Art of Conduction · Dvorak & Mozart
Dvorak & Mozart
The Art Of Conduction
Concerts conducted by Pawel Przytocki:
Wolfgang Amadeus Mozart:
Symphony No. 36 in C Major, K. 425 "Linz"
Orchesta: Schlesische Kammerphilharmonie Kattowitz
A concert at the church of Maulbronn Monastery 2002.
Antonín Dvorák:
Serenade for String Orchestra in E Major, Opus 22
Orchestra: Beethoven Academy Orchestra Krakau
A concert at the Bad Homburg Castle 2007.
HD Recording · DDD · c. 58 Minutes
CD
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***** BEST RECORDING

This is the best recording I have found of Dvorak's String Serenade!

A customer on iTunes

Review

***** My favourite

Your version of Dvorak's String Serenade is my favourite... Gotta loveit...damn! This guy is so good!

A listener on YouTube

Review

***** An ideal introduction

An ideal introduction to one of Poland's most talented and exciting young conductors, whose work has been compared to that of Carlos Kleiber and Svjatoslav Richter.

New Classics UK

Review

***** Five Stars

PLEASED. ORDER.

Laura J Hefner on Amazon.com (Verified purchase of the Audio CD)

Review

BEST SELLER on Amazon.com

February 16, 2015: Dvorak's String Serenade Op.22 is BEST SELLER on Amazon.com:
Best Sellers Rank 1 in 'Symphonies / Romantic'
Best Sellers Rank 2 in 'Periods / Romantic'
Best Sellers Rank 3 in 'Symphonies / Classical'

Review

***** Superb

I heard this piece (Dvorak's String Serenade) at a summer concert in Symphony Hall and was thoroughly enchanted by it. I downloaded it on to my ipod and it features regularly. It is a very melodic, uplifting, life-enhancing piece, superbly played.

Mr. P. Skeldon on Amazon.uk (Verified Purchase)

Review

A heady experience...

This beautifully-recorded CD brings together two fine works in what can only be termed as superb interpretations by Polish orchestras. K&K are an extremely enterprising German label who have given us some outstanding recordings in the choral, organ and piano and genre from such wonderful locations as centuries old monasteries so their new attention to orchestral music is very commendable indeed. Mozart's 'Linz' is one of those works were a carefully nuanced approach reaps considerable dividends as the great Peter Maag amply demonstrated. Przytocki is a consummate interpreter bringing a beautiful lift to the First movement and a busy energy to the Finale which are two miraculously charged movements. He is also in his element in the lovely Serenade for Strings by Dvořák which dances around quite ravishingly especially in the bucolic scherzo. This CD receives plaudits all around from me and it deserves a hearty recommendation. The presentation is beautiful with large photographs and the distinctive K&K colours provide for a heady experience which is reinforced by the interpretations.

Gerald Fenech on Classical Net

Review

***** FAV DVORAK

The 'Beethoven Akademie Orchester' does Dvorak justice with its excellent performance of his serenade. The 2nd and 3rd movements are definitely my favorites.

'J Dog1945' on iTunes

Vol. 08: The most beautiful Concert Highlights 2005-2006Vol. 08: The most beautiful Concert Highlights 2005-2006
The 20th Anniversary of the Maulbronn Monastery Edition
The most beautiful Concert Highlights
from Maulbronn Monastery 2005-2006

The 50th Anniversary of the Maulbronn Monastery Concerts
Anniversary Series, Vol. 8

Highlights from:
George Frideric Handel: Messiah, HWV 56 (September 24 & 25, 2005)
The concert "Baroque in Blue · A Crossover between Early Music & Jazz" (June 3, 2005):
Ferdinand Donninger: Musical idea of a sea battle
Michel-Richard Delalande: Concert de Trompettes
Girolamo Fantini: Trumpet Sonata No. 4 "Detta del Saracinelli"
The concert "Hosanna in excelsis · Music & Poetry in the Middle Ages" (June 5, 2005):
Nikolaus Apel Codex: Psalm 115: "Nicht uns, o Herr, nicht uns..."
c. 1300: Nova laude, terra, plaude... · 14th Century: Chaldivaldi
Alfonso el Sabio: Praeludio: "Santa Maria amar..."
Excerpts from the concert "Musica Sacra · De Maria Virgine" (May 18, 2006):
Mikhail Glinka: Kheruvimskaya (Cherubim's Song) · Anton Bruckner: Ave Maria
George Frideric Handel: Dignare from the Te Deum in D Major, HWV 283 "Dettingen"
Johann Sebastian Bach: Jesu, meine Freude · Dietrich Buxtehude: Cantate Domino canticum novum
Highlights from the piano recital "Grand Piano Masters · Carnaval" (May 25, 2006):
Wolfgang Amadeus Mozart: Piano Sonata No. 12 in F Major, K. 332 Franz Schubert: Piano Sonata No. 16 in A Minor, Op. 42, D. 845 Robert Schumann: Excerpts from Carnaval, Op. 9 "Little Scenes on Four Notes"
Live recordings from the German UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Duration: c. 103 Minutes
Digital Album · 35 Tracks · incl. Digital Booklet
FILES
EUR 0,00SpotifyDeezerNapsterGoogle PlayYouTube MusicApple MusicAmazon MusicTidaliTunes MasteredFor...Qobuz HDHD TracksPresto Classical HDeClassical HDPro Studio Masters HD
Vol. 09: The most beautiful Concert Highlights 2006Vol. 09: The most beautiful Concert Highlights 2006
The 20th Anniversary of the Maulbronn Monastery Edition
The most beautiful Concert Highlights
from Maulbronn Monastery 2006

The 50th Anniversary of the Maulbronn Monastery Concerts
Anniversary Series, Vol. 9

Highlights from:
George Frideric Handel & Wolfgang Amadeus Mozart: Der Messias, K. 572 (October 2 & 3, 2006)
The "Concert for Oboe, Bassoon & Piano" (July 15, 2006):
Camille Saint-Saëns: Bassoon Sonata in G Major, Op. 168 · Francis Poulenc: Trio, FP 43
The concert "Human being lives and consists" (June 17, 2006):
B. Britten: A Hymn to the virgin · M. Lauridsen: O magnum Mysterium · J. Sandström: Gloria
"Glass & Stones · Concert for Glass Armonica & Verrophone" (June 16, 2006):
Antonio Vivaldi: Largo from "The 4 Seasons: "L'inverno" (Winter)
Wolfgang Amadeus Mozart: Adagio for Glass Harmonica in C Major, K. 617a
Arvo Pärt: Pari intervallo · Ennio Morricone: Il Gatto a Nove Code
The concert "Awake, my Spirit" (June 15, 2006):
Johann Schop: O Traurigkeit, o Herzeleid · Christoph Bernhard: Leb ich oder leb ich nicht
Johann Schop: Ballet for discant viola da gamba & basso continuo
Christoph Bernhard: Der Tag ist hin · Johann Rudolf Ahle: Alles vergehet, Musik bestehet
Live recordings from the German UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Duration: c. 98 Minutes
Digital Album · 29 Tracks · incl. Digital Booklet
FILES
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