KuK-Art.com

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

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

***** Amazing - The best of YouTube video!

A listener on YouTube

***** Beautiful

This is stunningly beautiful, particularly track 14. I liked it so much I plan to purchase a couple more for gifts.

Susan B. at Amazon.com

***** Highly recommended

The Tendai monks and the Schola Gregoriana Pragensis ensemble have created a wonderful recording resulting from their mutual collaboration at concerts and liturgy in Prague in 2000 and on tour of Japan in 2005. These meditative encounters focus on interesting contrasts in the two musical languages and expressions, at the same time seeking common elements present in both traditions. Parallels can be found in the recitation of the sacred text or in the interpretation principle of alternating a soloist with a choir, which overlaps the boundaries of confession repertoires. Another striking feature is the tonality based on the pentatonic scale appearing both in shomyo singing and Gregorian chant. This unique collaboration has produced music of mesmerising beauty and intensity. Highly recommended.

New Classics UK

Qobuz Hi-Res Audio

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

Qobuz

***** Raises your spirits and nourishes your soul

Beautiful music. Raises my spirits and nourishes my soul.

Linda Hayes on Amazon.com

I was very moved by these performances

Since chanting-monk CDs are all the rage nowadays, K&K Verlagsanstalt decided to issue this disc of a special concert given at the Maulbronn Monastery in 2008. This concert, sponsored by UNESCO, combined the music of Tendai Buddhist monks from Japan with the Schola Gregoriana Pragensis choir, founded in 1987 in what is now the Czech Republic. The aim was to have the religious chants and hymns of both religions complement each other and create a multi-religious ambience redoubled in effect by the atmosphere of the surroundings.
The experiment works very well indeed. Initially, the two choirs alternate their chants, the Westerners more formal in structure, the Easterners more fluid in theirs. It was interesting for me to hear Japanese monks as compared to Tibetans who are much more familiar here in the U.S. The Japanese monks all chant in a higher pitch, more in the tenor range, although some of their members are capable, as are Tibetans, of "chording" with the voice from time to time. As for Schola Gregoriana Pragensis, they are quite simply a beautiful-sounding group with great feeling in their singing.
As the concert progresses, both choirs begin combining their religious chants to fascinating effect. Despite the musical and cultural differences, everything blends surprisingly well.
This is an excellent recording in every respect and in its own way more universal than many such "chant" CDs out there. In the spirit of the music presented, I feel a little odd recommending the disc, but as you can probably tell I was very moved by these performances.

Lynn René Bayley, Fanfare Magazine

Featured by Spotify

This release is featured in the editorial Spotify playlist of handpicked new classical Releases - August 2, 2019

Spotify Editorial Staff

Bravo!

Bravo...Bravo...Bravo... Superbe. Merci.

A listener on YouTube

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

March 2012

***** Must buy

Absolutely beautiful. A must buy!

Richard Evans on Amazon.com - December 10, 2018
Rating: 5.0 out of 5 stars

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

March 2012

Featured by Spotify

This release is featured in the editorial Spotify playlist of handpicked new classical releases - August 2, 2019

Spotify Editorial Staff

**** Marvelous music, played with verve and dazzling dexterity

The Bach sons referenced, in this album's title, Fantasies & Illusions - Bach's Sons and the Fortepiano, are Carl Philipp Emanuel Bach and his older brother Wilhelm Friedemann. The pianist for this disc, Serbian-born Slobodan Jovanovic, also contributes a brief piece, and penned the extensive program notes about the music. Unfortunately, they are printed in German only, a language I barely know, so I cannot comment on their usefulness. What I can report with confidence is that the music is marvelous, and Jovanovic plays it with verve and dazzling dexterity. The chief thing to know about the Bach boys is that, despite having been instructed almost exclusively by their great father, the music that they produced represented a distinctive break from the world of the Baroque. C. P. E. Bach gives us rather more imaginative and lively music than his sibling, especially so in the fast outer movements of the Classically designed sonata. This music is bursting with joy. But he was also capable of considerable depth and repose, as in the beautiful Adagio of the sonata. The large Fantasia, clocking in here at 11 and a half minutes, is a work of extraordinary inventiveness, and most likely represents a setting down of one or more of the improvisations that the composer was widely renowned for. To my ears it sounds like a precursor to the Rondo in A Minor of Mozart.
Wilhelm Friedemann Bach's polonaises are not as zesty as C. P. E.'s works, but just as expertly constructed, with an added layer of gracefulness that sets them apart. The polonaise format was very popular in late 18th century Germany, although these brief, lighthearted pieces have nothing in common with the massive works that Chopin was to create in the same name a generation later. I first encountered this music many years ago at a live performance by the superb American fortepianist Andrew Willis. There are only a handful of recordings of this delightful music available (alas, Willis not among them), and so this new recording is very welcome, especially given the fine recorded sound and the superbly colorful palette of Susanne Merzdorf's excellent reproduction of a 1782 Anton Walter instrument.
Jovanovic's own music, which dates to 1996, is quirky but intriguing, reminding me of a music box that starts out with a simple, sing-song tune, then begins to malfunction, leading it into odd key changes and rhythmic hiccups before somehow fixing itself and returning to proper working order. He rather bravely inserts the five-minute piece among the polonaises, but despite vast stylistic differences, there is a sense of mutual intellectual curiosity that tends to make the whole sequence flow surprisingly smoothly.

Peter Burwasser - Fanfare Magazine,
also published on Amazon.com, February 2020

Very touched. Thank YOU!

'Halyna Myroslava' on YouTube about the movie with "Ave Maria" von Morten Lauridsen

Absolutely beautiful!

'Johanna K.' on YouTube about the movie with "Ave Maria" von Morten Lauridsen

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

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

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

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

***** 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

***** 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

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

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

November 2013

A "Must Have"

A concert experience full of thrilling intensity ... This great-sounding concert recording is necessarily preferable to a studio production. A "must have" for all Handel lovers...

SWR 2 Culture (German Broadcasting)

A superb live recording of one of the greatest works from the Baroque era

George Frideric Handel's choral oratorio, Israel in Egypt, was the fifth of the nineteen oratorios which he composed in England. It has a libretto compiled from selected passages in the Hebrew Bible, mainly Exodus and the Psalms, and premiered at London’s King’s Theatre in 1739. It was not well received by audiences, though later in the season Handel revived it for three additional performances, with the first third of the work removed and several arias added. Reaction remained muted and it was not until 1756 that Handel mounted another London production, adding elements of other oratorios together to create a new first part. This was still unsuccessful and the composer did not take up the work again. It’s dificult to see now why there was such contemporary coolness towards such a powerful work that in the next century would attain popularity second only to Messiah. Israel in Egypt is a colossal work comprising twenty-eight massive double choruses, linked together by a few bars of recitative, with five arias and three duets interspersed among them. Unlike Handel’s other oratorios, there is no overture or prelude to the work.
The superb live recording on this double CD is part of a cycle of oratorios and masses performed in the basilica of Maulbronn Abbey with the Hanoverian Court Orchestra and Maulbronn Chamber Choir under the direction of Jürgen Budday. The series combines authentically performed works with the optimal acoustics and atmosphere of this unique monastic church—an ideal location demanding the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composer’s lifetimes. Soloists include sopranos Miriam Allan and Sarah Wegener, the wonderful countertenor David Allsopp, tenor Benjamin Hulett and basses Steffen Balbach and Daniel Raschinsky.
This is an exciting and beautiful performance of one of the greatest and most passionate works from the Baroque era.

© 2014 new-classics.co.uk

***** Excellent Music to Enjoy

It does not matter where you come from. This album will resonate and make you wonder 'why I had not come across an album like this one'. Enjoy...

'JORALE95' on eMusic.com

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

Unique

A unique interpretation of a baroque master piece.

A listener on YouTube

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

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

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

***** 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

***** 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

***** 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

***** 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)

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

***** Five Stars

Enjoyed it greatly

Sally Ann Mcallister on Amazon.com

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

***** Excelent Solomon

Although we use Gardiner as a custom reference this reading is superb. Clear spacious sound, excelent soloists and orchestra playing. You be impacted by the double choir singing and Michael Chance sings nicely the title role Solomon. This version is some tracks longer than Gardiner's.
Recommended! (5 Stars out of 5 Stars)

'capezio' on Amazon.co.uk, United Kingdom on 20 July 2019

A sumptuous CD

In this atmospheric concert recording from the convent church in Maulbronn in 2001, Giacomo Puccini's Messa di Gloria is performed by Willi Stein (tenor), Thomas Pfeiffer (baritone), Kantorei Maulbronn, and members of the SWR Symphony Orchestra of Baden-Baden & Freiburg, ably conducted by Juergen Budday. A sumptuous CD.

New Classics UK

***** 5 stars out of 5 stars

Customer Votes on EMusic

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

March 2012

One of the most satisfying glass harmonica discs ever

The Vienna Glasharmonika Duo, consisting of husband and wife Gerald and Christa Schönfeldinger, is one of the longest established groups wholly devoted to performing music written for glass and their K&K-Verlagsanstalt release Glas & Steine (Glass & Stone) is of an in-concert recording from the summer of 2006. Christa Schönfeldinger performs on a reconstructed instrument that is almost exactly like the glass armonica that Benjamin Franklin invented in 1761 rather than the crystal glasses in a suitcase instrument more commonly used since Bruno Hoffman revived glass music in the 1950s. Gerald Schönfeldinger plays a modern instrument called a Verrophon that consists of a set of test tube-like glasses and contributes three original compositions to the program written in an idiom very well suited to this exotic combination of instruments. The recording, touted as a "Direct 2-Track Stereo" release, is excellent, made at Maulbronn Monastery in Austria, which has superb acoustics. Although the program includes the expected Mozart K. 617a and arrangements of some other pieces by him, it does expand upon our notions of glass harmonica music. Especially notable is the inclusion of Arvo Pärt's Intervallo, written in open score and usually played on the organ but perfectly well suited to the glass harmonica. Ennio Morricone's Il Gatto is included as a way to vary the sound of the program, which includes some glasses as struck with soft mallets in addition to the usual bowing with the fingertip. However, the most striking piece is Vienna Glasharmonika Duo's transcription of Edvard Grieg's lyric piece Der Kobold, which succeeds well in stretching the boundaries of these instruments, demonstrating that fast passagework is possible and the glass harmonica need not be limited to long, sustained notes, even though that's the kind of musical texture that suits it best.... ...Glas & Steine is one of the most satisfying glass harmonica discs ever. The resonance of Maulbronn Monastery helps take the edge off the sometimes-piercing top notes of the glass - notable especially in studio-made recordings - and provides an ambience that is appropriately ghostly and evocative...

Uncle Dave Lewis - All Music Guide

***** The best sounding recording of a piano

This performance of two Beethoven sonatas recorded before a live audience in a castle in Germany by pianist Lilya Zilberstein is incredible in two respects. First, the Appassionata is played as well as anyone I know, including the many legends of the keyboard who have recorded this masterpiece. Zilberstein has it all--technique, style, and passion. Equally remarkable is the sound. This is the best sounding recording of a piano I have ever heard--it must be heard to be believed, and if you are lucky to have a fine sound system you are in for a stupendous aural treat. If wish to hear a magnificant performance in otherwordly fidelity I urge you to track this release down before it becomes unavailable.

'Oldnslow' on Amazon.com

***** Exceptional Appassionata

Sonata 23 is a war horse. There are literally 3-5 dozen versions online from older versions Schnabel (much too fast) to Brendel and Horowitz (quite staid) Kissin Gilels Schiff Goode and others. This one has superb recording. It is live and one can feel the tension with the audience. It is exceptionally clean and not exceedingly fast. You can hear the nuances that lay buried in the ear with the speedsters. She has wonderful rubato moments and the phrase to phrase dynamics are exceptionally well done. Importantly it is very exciting to hear though you know every note; it appears fresh as I feel it is new, modern interpretation. Congratulations Lilya. I hope to hear you in concert in Boston.

'George R. Collison' on Amazon.com

***** Even among all Beethoven sonatas on the market, this one stands out

The disc is a product of Germany's K&K label, which specializes in live performances held in historically significant, if not acoustically appropriate, locations. Here they manage both. The Castle Church of Bad Homburg offers a fine ambiance for piano music in general and for Zilberstein's muscular, dynamic style in particular.
The disc offers the first half of a live concert whose date is localized only to October 2007; the second half was devoted to music of Brahms. At 52 minutes the program is short, but it is complete in itself, and one wants to hear the other disc if only to find out whether Zilberstein can sustain the intensity level from this half.
Zilbertstein has managed to devise fresh, fully realized interpretations of these two sonatas - no small feat, especially in the case of the ubiquitous Piano Sonata No. 23 in F minor, Op. 57 ('Appassionata'). Hear Zilberstein's exquisite shaping of the work's brooding opening page. The Beethovenian short-short-short long motif that plays such an important role in binding the music together is introduced in the shadows, but soon enough emerges as an exclamation with sufficent force to propel the main theme through its numerous harmonic transformations.
The level of tension in the entire sonata is remarkable; even the middle movement seems to see the with repressed energy. The early Piano Sonata No. 2 in A major, Op. 2, No. 2, is equally strong, with a unique rhythmic conception of the main theme. Just sit and listen: even among all the Beethoven sonatas on the market, this one stands out.

James Manheim, All Music Guide USA

Another great piano recital from K&K...This CD is a special one!

His easy virtuosity leaves him free to voice the chords at every moment, and there are many moments of sheer magic in all the chosen works. I would mention, for example, his compelling interpretation of one of the most elusive and problematic of Schubert's sonatas, the first movement thoughtfully dramatic, and the slow movement exquisite... This CD is a special one!

Dr. Peter Grahame Woolf, Musical Pointers UK

So soo sooo beautiful.. I love it!

Thessa Samosir on twitter (about Magdalena Müllerperth's performance of Ravel's "Jeux d'eau")

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

November 2013

***** A wonderful and delicate piece of music...

I wish to write this review not only praising the quality and beauty of music contained on this album but also to thank K&K Verlagsanstalt personally for their generosity towards me. I am a film student who has just finished producing my graduate film. During post production I sort through many different recordings of Schubert Impromptus in particular the Impromptu Op.90 No.3 in G flat major. I felt this music would be appropriate for my film as it holds a certain bitter sweet quality that is rarely found is seldom come across. I chose the recording of K&K's as I believed it to be the most beautiful, with the lovely expression contained in the performance and overall clarity of the piece. I contacted K&K shortly after hearing it and they were kind enough to grant me the use of their recording for which, I am forever grateful.
I cannot explain my gratitude towards K&K Verlagsanstal and also Franz Vorraber for such a virtuoso performance. All I can give is my support of their products and recommendation to others purchase their music.

'Glynncat' on Amazon.com

***** Beauty

This is real music... it's classic and its a beautiful melody... verry catchy and it's soothing. Pretty much just awesome!... not kiddnig.

'Holly Jo McCoy' on iTunes

Qualitative recording

This is a qualitative recording without background noise.

'TianSky' on iTunes

Featured on Spotify

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

Spotify Editorial

***** 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

Featured on Spotify

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

Spotify Editorial

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

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

A sincere thumbs up to this most gifted of pianists...

This fascinating concert recorded live in the mystic Castle of Bad Homburg is a truly mystical tour-de-force showcasing the magnificent talents of this young pianist who will surely become a household name in the very near future. Tebenikhan is unfazed by the monumental difficult of Schubert's A Major sonata and he sails through it with the professionalism and aplomb of a seasoned master such as Jorge Bolet or Alfred Brendel. Even more wizardry is to be displayed in Prokofiev's Fourth Piano Sonata with the Toccata also receiving a lightning-quick interpretation. Tebenikhin leaves the best for last in the shape of Schumann's monumental Piano Sonata #3 and even in this work he comes off superbly with flying colours. Truly a disc to relish and a sincere thumbs up to this most gifted of pianists.

Gerald Fenech on Classical Net

Severin von Eckardstein Live at Duisburgs Mercatorhalle

The seriousness and intensity with which von Eckardstein imbues Schubert's Sonata in A Minor; the wealth of tone colours this winner of Brussels's Queen Elisabeth Music Competition draws from the C. Bechstein concert grand piano for Debussy's Images; the virtuosity of his interpretation of Medtner's sonata: all this really breathtaking. Ingo Hoddick states in an article published in the Rheinische Post: "Von Eckardstein is captivating through his music with clear tonal contours and his serene and passionate approach of playing the piano. He does it all with virtually no gimmickry or flamboyance - which cannot be said of many contemporary artists..." The CD also includes three poetic pieces by Prokofiev, Scriabin and Tchaikovsky. These encores offered to the euphoric audience demonstrate von Eckardstein's sensitivity in conjuring a magical atmosphere from a C. Bechstein concert grand piano.

Bechstein.com

This is an absolutely beautiful performance

This is an absolutely beautiful performance. It is crisp it is authentic. The recording captures the ambiance of the Monastery. Vox Nostra is tops in my list. If your looking for Gregorian chant crab this before it ascends to heaven.

'Maggie' on Amazon.com

It is not possible to overstate the importance of this recording

The first word that comes to mind on listening to this CD is haunting. As a procession entering into the abbey church (St. Bernhard, Eusserthal, Rhineland-Palatinate) we initially hear a distant group of singers approaching, as they get louder and fill the space with their resplendent voices we settle into a transcendental journey across ancient medieval Europe. Each of the five singers on this recording is a scholar specialist (musicology, paleography, theology) in this repertoire. They include, Amy Green (USA), Susanne Wilsdorf, Ellen Hünigen, Werner Blau, Burkard Werner (Germany). They gave a concert in the abbey church on September 8, 2013. This CD is a snapshot recorded on site in direct 2-track stereo digital. The sound quality is quite simply amazing. A restored church from what was left of the original ruined abbey Kloster Eusserthal, is widely known in Europe as a great concert acoustic. An ongoing series of performances is presented annually in the former Cistercian monument, near Annweiler am Trifels.
Vox Nostra to quote their notes, "…favors a slow, flowing style of performance in an appropriately restrained tempo. The vocal sound which results is rich in overtones, and fills the entire space; it allows the archaic and pure intervals of this music to be fully appreciated, and ensures that the complex weaving of the voices is clearly audible." This writer would have to qualify their approach and the amazing results as revolutionary and without president or rival. I feel like I have heard medieval chant for the very first time it is so startling and overpowering.
The repertoire is varied and all taken from original manuscripts in Spain, Italy, Scotland, Germany, England and France. The recording ends as it began. The singers exit the abbey church and their voices trail off into the distance into silence. It is not possible to overstate the importance of this new recording on a label that is almost totally unknown here in North America. Insist on listening for yourself Vox Nostra's artistic triumph Veri Solis Radius.

© 2015 Timothy Eaton Memorial Church

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

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

Featured by Spotify

This release is featured in the editorial playlist on Spotify​:
CLASSICAL NEW RELEASES
Updated every Friday with the very best classical new releases

The Spotify Editorial Team - March 18, 2022

***** Elegant music with a superb sound...

These are pleasing contemporary arrangements of Haydn's relatively little-known Divertimenti for string quartet. Undemanding, elegant music which adapts well to the two guitar medium, and has an added interest because this duo plays always on instruments of the respective musical era, rebuilt copies: 'after all, they played on new guitars back then, so why should we have to give concerts with old ones?' !
The sound as recorded in the Laymen Refectory of the 1147 Maulbronn Monastery is superb, and the pleasure vastly enhanced by looking at the fabulous website, with pictures instantly putting you right into the ambience of this World Heritage Site where some 25 concerts are held annually.

Andy Smith on Amazon.com

A superb guitar duo