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Gregor Joseph Werner was by no means a mere minor master in Haydn's immediate predecessor - this is already impressively shown by the previously released recordings. Now the newly acquired picture is further intensified: Werner, whose symphonies and instrumental concertos composed for the princely table have been lost, comes to the fore for posterity as a grand master of Latin musica sacra. With his sharpness of character and contrapuntal perfection, he proves to be not only a prerequisite and teacher for Joseph Haydn, the father of Viennese Classicism, but himself a gateway to this stylistic epoch. Werner appears to us today as the spiritual support of the rather profane Viennese Classicism. The recorded masses need in no way fear comparison with Haydn's, Mozart's and Schubert's smaller and middle masses. They unite the greatest contrasts imaginable between instrumental brilliance and polyphonic richness of the vocal. Werner is also the last great master of Palestrina's stile antico. 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As chief conductor of the legendary Czech Philharmonic Orchestra for many years, Neumann was regarded as an accomplished advocate of the music of his homeland in particular, which he shaped without sentimentality, but rather with a sense of form, a love of detail and a singing espressivo. \"I am a Czech through and through,\" Vaclav Neumann once confessed - thus subliminally hinting that even in the politically turbulent times of the Cold War, he could not imagine any other homeland than Prague. Czech identity was also his artistic trademark, especially during his years at the helm of the Czech Philharmonic Orchestra, which he conducted from 1968 to 1990 and established as a cultural ambassador for his country on countless tours. The impetus for his international career, however, came from the GDR, where Neumann worked at Walter Felsenstein's Komische Oper in Berlin and later as Gewandhaus and opera conductor in Leipzig - a position steeped in tradition, which he resigned in 1968 in protest against the events of the \"Prague Spring\". In the summer of 1969, the Czech Philharmonic was the first orchestra from beyond the \"Iron Curtain\" to perform at the Lucerne Festival - under Neumann's baton, of course. Four further guest appearances followed between 1984 and 1990, including thrilling interpretations of Dvorak's Eighth Symphony, his late tone poem The Wood Dove and the prelude to Smetana's opera Libuse. Neumann never lapses into national emphasis, instead seeking a balance between richly nuanced lines - the trained violinist and violist spoke of the \"singing orchestra\" -, strict form and precise realisation of the musical text. All three live recordings are first releases. 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His interpretation deliberately eschews stylistically unfamiliar permanent espressivo and instead delves deep into the nuances and facets of Fauré's compositions. \"Fauré authentique\" thus presents not only musical brilliance but also an authentic journey through the French composer's complete works for cello and piano, embedded in the beautiful sound of the Érard grand piano.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49606129516824,"sku":"4022143978257","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4327349-3148130.jpg?v=1777516775"},{"product_id":"dohnanyi-eotvos-kodaly-ysaye-treasures-string-trios","title":"Dohnanyi, Eotvos, Kodaly \u0026 Ysaye: Treasures - String Trios","description":"\u003cp\u003eThe repertoire for string trio is comparatively small, but in addition to the relevant works by Mozart, Beethoven, and Reger, it also contains surprising, newly discovered, and newly composed pieces. 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Planned long before Putin's Ukraine war, the release is now a beacon for the often damaged freedom of art.\u003c\/p\u003e\n\u003cp\u003eA breath of fresh air is blowing over the Ural Opera Ballet with this new version of Paquita, halfway between tradition and modernity! A festive ballet recounting the thwarted loves of a gypsy and an officer, Paquita marked the debut of Marius Petipa in Saint Petersburg. But only the last scene of the ballet, the famous Grand pas Classique, remained in the companies’ repertoire. Thanks to a careful reconstruction, the Ural Opera Ballet finally revives the original version in three acts. The product of methodical research by expert Sergei Vikharev and former Principal Vyacheslav Samodurov, the choreography scrupulously recreates Petipa’s 1881 version, according to notes kept at the Harvard Theater Collection. The original score has been rearranged by the famous Saint Petersburg composer, Yuri Krasavin. But if this new production uses the original libretto of the ballet, it nonetheless transposes it in time. The result is a show of great relevance, which brings up to date the strong political and social substrate of the original plot by illustrating it with artistic references gleaned throughout the 20th century. A powerful theatrical experience, crowned with the jury’s special award of the ‘‘Golden Mask’’ in 2019.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704556921112,"sku":"4022143200495","price":10.49,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4105716-2872178.jpg?v=1777720148"},{"product_id":"r-schumann-for-clara-piano-works-vol-1","title":"R. Schumann: For Clara - Piano Works, Vol. 1","description":"\u003cp\u003eWith this recording, audite is launching an initial three-CD series with Jimin Oh-Havenith. In it, the pianist presents her personal view of Robert Schumann, whose contribution to Romantic piano music is unparalleled, especially through the series of masterpieces written between 1830 and 1839. The First Sonata in F-sharp Minor op. 11 and the Fantasy op. 17 are part of Schumann's exploration of the classical sonata form, especially that of Beethoven and Schubert. Due to their poetic and autobiographical-programmatic charge in combination with a novel, strongly contrapuntal pianistic virtuosity, they are still among the most demanding piano works of the Romantic period, but also unreservedly loved by performers and listeners. Jimin Oh-Havenith's playing, as powerful as it is tonally nuanced, does special justice to the unique richness of this music.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704556953880,"sku":"4022143200501","price":15.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4182371-3141212.jpg?v=1777722635"},{"product_id":"known-piano","title":"K[now]n Piano","description":"\u003cspan data-mce-fragment=\"1\"\u003eJimin Oh-Havenith's third album album for audite - following her recordings of great classical and romantic piano sonatas (Schubert, Liszt \/ Beethoven) - is dedicated to a completely different aspect in the immense world of piano music: different formats, such as a theme for variations, single sonata movements, the etude, the character piece and the free piece. These works span 250 years, from the early eighteenth century until 1976, comprising the baroque, classical, romantic, modern and post-modern styles. Pieces familiar to every piano student, such as Bach's C major Prelude from the Well-Tempered Clavier, the Turkish March from Mozart's Piano Sonata in A major, K. 331, and Beethoven's Für Elise, are contrasted with virtuoso works such as Liszt's Etude La campanella, Ravel's Jeux d'eau and - with a nod towards the New World - Louis Moreau Gottschalk's Le bananier. There is, of course, a programmatic structure connecting these 21 pieces to one another, hinted at by the title of the album, known \/ now: well-known and world-famous pieces on the one hand, and more obscure, though no less original, works on the other, creating a dialogue. Illuminating and informing each other, they gain aesthetic presence in Jimin Oh-Havenith's sensitive interpretations.\u003c\/span\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704557838616,"sku":"4022143234469","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4037914-2810045.jpg?v=1777738923"},{"product_id":"lucerne-festival-vol-17-geza-anda-clara-haskil","title":"Lucerne Festival, Vol. 17 - Geza Anda \u0026 Clara Haskil","description":"Géza Anda performed regularly at the Lucerne International Music Festival from 1955-1969. Only from this period three recordings have survived, which are published here for the first time in their entirety. These are the Concerto for Two Pianos and Orchestra BWV 1061 by Johann Sebastian Bach from the festival year 1955 and the 3rd Piano Concerto by Béla Bartók from 1965. Clara Haskil and Herbert von Karajan were Anda's partners for Bach, and Ernest Ansermet for Bartók, who was heard here for the last time in Lucerne. Also featured is Bartók's 2nd Piano Concerto, which Anda played with his favorite conductor Ferenc Fricsay before an enthusiastic audience. audite presents this important gap in the Anda discography in cooperation with the Géza Anda Foundation Zurich, Swiss Radio and Television (SRF), Salzburg's Eliette and Herbert von Karajan Institute, and Lucerne Festival.","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704563736856,"sku":"4022143956507","price":7.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4057304-2800559.jpg?v=1777732821"},{"product_id":"blomenkamp-guth-ligeti-trojahn-origin-1","title":"Blomenkamp, Guth, Ligeti \u0026 Trojahn: Origin","description":"\u003cspan data-mce-fragment=\"1\"\u003eWith their debut album Origin, the ARUNDOSquintett demonstrate their joy of playing, their virtuosity and their chamber music credentials, performing wind quintets by four composers who, like the ensemble, have made North Rhine-Westphalia their home in very different ways: György Ligeti, Thomas Blomenkamp and - in premiere recordings - Manfred Trojahn as well as Maximilian Guth. Influences and inspiration ranging from Balkan folk music in Ligeti's early Six Bagatelles, through African trance music in Guth's current composition NGOMA and the spirit of French modernism in Trojahn's and Blomenkamp's works provide the classical wind formation of flute, oboe, clarinet, horn and bassoon with new, exceptional life for the twentieth and twenty-first centuries. 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She started playing the piano from the age of three with her mother until she was seven; from the age of seven with her father, pianist Prof. Karl-Heinz Schlüter. She studied piano at the Hochschule für Musik Würzburg (artistic diploma with grade 1, master class diploma concert subject piano) with Prof. Bernd Glemser, and before that piano at the Hochschule für Musik und Tanz Köln with Prof. Nina Tichman.\u003c\/span\u003e\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704565440792,"sku":"4022143978011","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4096043-2872181.jpg?v=1777718365"},{"product_id":"boellmann-faure-lalo-saint-saens-french-cello","title":"Boellmann, Faure, Lalo \u0026 Saint-Saens: French Cello","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe present album is a multifaceted homage to French cello music, and features heavyweights of French cello literature, recorded by one of today's leading cellists: from Camille Saint-Saëns' \"The Swan,\" perhaps the most famous cello solo ever, to Léon Boëllmann's \u003cem\u003eVariations symphoniques\u003c\/em\u003e, combining playful wit with highly original form, contrasted by the sense of tragedy in Gabriel Fauré's \u003cem\u003eÉlégie\u003c\/em\u003e. The two concertos by Saint-Saëns and Lalo represent weighty warhorses of the French cello repertoire which require not only technical mastery but, above all, musical penetration in order to highlight their subtleties. As an advocate of the ars gallica movement, Saint-Saëns included in his first cello concerto several allusions to the French baroque tradition, but also showed commitment to French clarity, turning his back on any bombast which was considered \"Teutonic\". Lalo's cello concerto, on the other hand, is highly expressive, energetic and very romantic, with the solo cello almost depicting the literary heroes of the time who populated the novels of Balzac, Hugo and Dumas père and fils.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA distinguished French cellist and a French orchestra present a fine programme which celebrates the important role of the cello in late 19\u003c\/span\u003e\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e century France. This is a shrewd selection: the works by Saint-Saëns and Fauré are familiar, that by Lalo less so, and (outside the organ loft) the music of Léon Boëllmann remains obscure.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI was very glad to discover Boëllmann’s concertante work, as I suspect will be many music lovers. Its thirteen minutes contain plenty of rewarding music, and no note-spinning. The title pays homage to Franck’s piece for piano and orchestra, and it sounds to me almost in the same class as that work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eIs there a finer cello concerto than Saint-Saëns’s A minor? Maybe, but few that are over in less than twenty minutes and offer such opportunities for a skilled cellist. The soloist has a showcase for all the instrument can offer, including becoming a chamber musician, or one who is \u003c\/span\u003e\u003cem\u003eprimus inter pares\u003c\/em\u003e\u003cspan\u003e. Coppey’s playing is impressive. In particular, there is a rapturous quality to his playing of the lyrical music in both of this work’s outer movements. \u003c\/span\u003e\u003cspan\u003eThe disc inevitably [also] offers Saint-Saëns’s \u003c\/span\u003e\u003cem\u003eThe Swan\u003c\/em\u003e\u003cspan\u003e. This perhaps best known of all cello works is played here in Paul Vidal’s arrangement for cello and chamber orchestra, and it casts the usual serene spell.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnother arrangement for cello and orchestra, this time by the composer, is Fauré’s noble \u003c\/span\u003e\u003cem\u003eÉlégie\u003c\/em\u003e\u003cspan\u003e, originally a fragment of an abandoned cello and piano sonata. Coppey gives it a spontaneous-sounding account, at times almost improvisatory in feeling. The cellist’s tone and line are deployed in the service of a haunting interpretation, aided by touching flute and oboe contributions from the Strasbourg players under John Nelson, attentive collaborators throughout.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLalo is best known for a single work, his \u003c\/span\u003e\u003cem\u003eSymphonie espagnole\u003c\/em\u003e\u003cspan\u003e. His Cello Concerto could well stand alongside it if it received more performances as good as this one. The stormy opening is stirring, and the lyrical passages silken[.]\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704565473560,"sku":"4022143978028","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4075171-2872182.jpg?v=1777727129"},{"product_id":"korngold-messiaen-prokofiev-ravel-szymanowski-myths-1","title":"Korngold, Messiaen, Prokofiev, Ravel \u0026 Szymanowski: Myths \u0026","description":"\u003cp\u003eThe musically and technically highly demanding programme with which Stefan Hempel and Daniel Seroussi make their audite debut offers an impressive panorama of the development of literature for violin accompanied by piano in the first third of the 20th century. While the great works of the 19th century from Beethoven and Mendelssohn Bartholdy to Brahms and Tchaikovsky focused on melodic power and virtuoso brilliance, the compositions performed here by Korngold, Szymanowski, Prokofiev and Messiaen from the years 1915 to 1933 open up new areas of expression for the instrument. The intensity of Hempel's and Seroussi's interpretations make it clear that the violin, no less than the piano, is a universal instrument that effortlessly does justice to the diversity of the languages of musical modernism. The programme is complemented by the transcription of Ravel's famous piano piece Pavane pour une infante défunte by the Polish violinist Paul Kochanski and - as a downloadable bonus track - Gabriel Fauré's melancholy Morceau de concours from 1903.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704565539096,"sku":"4022143978103","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4182372-3141224.jpg?v=1777722641"},{"product_id":"debussy-mozart-schachtner-zimmermann-deja-reve-dialog-1","title":"Debussy, Mozart, Schachtner \u0026 Zimmermann: Deja-Reve - Dialog","description":"\u003cp\u003eWith Bernd Alois Zimmermann's Monologues, the piano duo Vincent and Sophie Neeb place a rarely performed masterpiece at the centre of their debut recording. The composer describes his work, first performed in 1965, as \"dialogues across the ages of dreamers, lovers, sufferers and praying people\", which offers a journey through music history with sophisticated collages.\n\u003cbr\u003eFollowing this inspiration, the programme is completed with a contrasting selection of compositions quoted there: Works by Bach and Debussy, creatively arranged for two pianos and percussion by Johannes Xaver Schachtner, and a Mozart arrangement by the piano duo Neeb enter into a unique dialogue via this inner context?\u003c\/p\u003e\n\n\u003cp\u003eTogether with percussionists Christian Benning and Patrick Stapleton, the piano duo Neeb explores surreal dream worlds - playfully light and enigmatically profound at the same time.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704565571864,"sku":"4022143978134","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4408875-3332345_27124e4a-209c-44bb-9fe9-ad34c7dfa648.jpg?v=1777532124"},{"product_id":"locatelli-introduttioni-teatrali","title":"Locatelli: Introduttioni teatrali","description":"\u003cp\u003eIngenuity and variety characterise Locatelli's concertos. His Introduttioni teatrali are a veritable firework of musical ideas, contrasts and effects; his Concerti grossi showcase the virtuosity of the soloists. This recording realises the concerti in a small ensemble. This was Locatelli's intention, who played with local ensembles on his travels: an interplay of highly virtuosic, demanding solo passages and simpler tutti passages. The Thuringian Bach Collegium follows on stylistically from the highly acclaimed release of the concertos of Prince Johann Ernst of Saxe-Weimar and continues the series of recordings on audite.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49704565932312,"sku":"4022143978219","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4196573-2968414.jpg?v=1777609571"},{"product_id":"lucerne-festival-vol-16-karl-bshm","title":"Lucerne Festival, Vol. 16: Karl Böhm","description":"\u003cspan data-mce-fragment=\"1\"\u003eBetween 1950 and 1980, he was one of the most important conductors of international standing, and yet he has been somewhat forgotten: Karl Böhm was the antistar among the podium greats of his time, a decidedly businesslike servant of the music. For the first time, two Lucerne concert recordings with the Vienna Philharmonic, with whom he was closely associated for decades, are released: Bruckner's Seventh Symphony and - a solitaire in Böhm's discography - an upbeat Hindemith concerto. In the summer of 1970, Böhm, by all means an advocate of contemporary music in his younger years, performed Paul Hindemith's 1949 Concerto for Woodwinds, Harp and Orchestra in Lucerne. The three-movement work offers the five-member Concertino group grateful playing tasks and, with its quotation from Mendelssohn's Wedding March, makes reference to Hindemith's own silver wedding anniversary. In addition to Mozart, Beethoven, Schubert, Brahms, and Strauss, the symphonies of Anton Bruckner were also central to Böhm's concert repertoire. Böhm's Bruckner interpretations possess an aura, but it is neither the religiously pathos-laden one of Eugen Jochum, nor the pathetically worldly one of Sergiu Celibidache, nor the matter-of-factly austere one of Nikolaus Harnoncourt. This is also evident in the Lucerne recording of the Seventh Symphony from September 1964: Böhm never loses sight of the whole and yet plays out every articulatory detail with almost scrupulous fidelity to the text. He follows Bruckner's blocky editing technique without aggressively emphasizing it. He does not avoid the music's solemn monumentality, but neither does he exaggerate it into false, violent pathos.\u003c\/span\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49709699727640,"sku":"4022143956491","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4037916-2774000.jpg?v=1777738944"},{"product_id":"bach-reconstructed-1","title":"Bach Reconstructed","description":"BACH reconstructed - Neubrandenburg Concertos based on Bach's originals - On the trail of the wonder of Bach's music: resounding works of art such as the Brandenburg Concertos have awakened the ensemble's spirit of discovery. In order to better understand their inner architecture, their genius, ensemble member Christoph Harer has created baroque transcriptions from Bach's originals in exchange with solos and orchestra and combined them into three \"Neubrandenburg Concertos\". A harpsichord concerto thus becomes music for three competing string trios. Solo and chamber music are transformed into colorful concerto movements for different instrumentations. And a simple vanitas song is transformed into a dreamy string aria. In the process, la festa musicale reaches top form: solo parts are distributed across the whole orchestra, the concertos are carried by the virtuosity and imagination of many together. The creative play with the originals opens up new, unexpected perspectives on Bach's great music.","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49709758316824,"sku":"4022143978165","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4348894-3201848.jpg?v=1777503816"},{"product_id":"bach-mendelssohn-the-organ-sonatas-1","title":"Bach \u0026 Mendelssohn: The Organ Sonatas","description":"\u003cspan data-mce-fragment=\"1\"\u003eBoth JS Bach's six Trio Sonatas and Mendels­sohn's six Organ Sonatas are conceived as tutorial pieces - an \"organ school\" - to help attain demanding playing skills at the highest musical level. We know from Bach that he wrote his sonatas for his eldest son, Wilhelm Friedemann. Mendelssohn is known to have been familiar with Bach's sonatas and their pedagogical purpose. He gradually developed his own Organ Sonatas, originally for the English market: they are equal in number to Bach's sonatas, as well as in their intention as instructive pieces, \"a kind of organ school\", as Mendelssohn himself wrote to the publisher. Johann Sebastian Bach composed into his six Trio Sonatas \"the sum of all the difficulties that a teacher wants a gifted pupil to master\" (Marie-Claire Alain); written between 1727 and 1732, they remain a touchstone for every organist to this day. A good hundred years later, Mendelssohn created his Organ Sonatas - among other things, the independent and prominent pedal treatment (each movement features a pedal solo) and the frequent playing on several manuals challenge the player in the same spirit. Anything but monotonous studies, the results in both cases were masterpieces of the highest order.\u003c\/span\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49710137377048,"sku":"4022143234476","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4037915-2810285.jpg?v=1777738922"},{"product_id":"pohle-liebesgesange-1","title":"Pohle: Liebesgesange","description":"\u003cp\u003eDavid Pohle created his Twelve Love Songs in the early 17th century and with them decisively advanced the still young genre of German-language song. The settings of the 26-year-old Pohle are valuable testimonies to the development of the German-language song genre. The poems by Paul Fleming on which they are based have autobiographical features; which David Pohle reflects in the composition by using two equal singing voices. The composition and text tell of love; loss and pain; of happiness; determination and renunciation in a variety of ways. audite presents this first recording with a top-class cast.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49710366458136,"sku":"4022143978035","price":10.49,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4408874-3332344.jpg?v=1777535088"},{"product_id":"impromptu","title":"Impromptu","description":"\u003cp\u003eA common genre on the piano since Franz Schubert, there are far fewer impromptus for the harp than one might think. Sarah O'Brien, longtime principal harpist of the Concertgebouw Orchestra Amsterdam and the Munich Philharmonic, presents here a compendium of all impromptus for harp. She has collected both well-known works and surprising rarities, which she supplements with 20th-century compositions and spices up with a few 18th-century gems that are also ideally suited as arrangements for her instrument.\u003c\/p\u003e","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":49731167486232,"sku":"4022143978073","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4115303-2872183.jpg?v=1777718376"},{"product_id":"dvorak-string-quartet-op-96-string-quintet-op-97-hum","title":"Dvorak: String Quartet, Op. 96, String Quintet, Op. 97 \u0026 Hum","description":"Antonin Dvorak's 'American' chamber music works are the fruits of a happy, carefree time. And this is reflected in the music: colourful, vibrant, imbued with the musical and scenic impressions he gathered in the bustling metropolis of New York and during his summer holidays in rural Iowa.    Antonin Dvorak spent a happy time in America in the early 1890s. As director of the National Conservatory of Music in New York, he was generously paid, and concert audiences adored him.  Some of his most famous and beloved works were created in the United States, including the 'American' String Quartet, which uniquely combines landscape painting and emotional expression in chamber music. Unjustly overshadowed by this piece is the String Quintet in E flat major, also known as the 'American' Quintet: a colourful, masterfully crafted work in which Dvorak sought to capture the spirit of Native American music.  Both works have been among the Mandelring Quartett's favourites for many years. However, the Humoresques, Op. 101 were a new discovery for the ensemble. Presented here in a first recording of an arrangement for string quartet, they include the immortal melody that the Comedian Harmonists made into a hit, titled \"Eine kleine Fruhlingsweise\".","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":50358946726168,"sku":"4022143978288","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4424569-3387778.jpg?v=1777484290"}],"url":"https:\/\/hbdirect.com\/collections\/audite-new-recent-releases.oembed?page=3","provider":"HBDirect","version":"1.0","type":"link"}