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Here are some of the great titles featured this month from Capriccio, Dacapo, OUR Recordings and Phoenix Edition. Naxos distributes these wonderful labels worldwide.


Easter Titles

Each of these remarkable titles is a world première recording which is sure to delight lovers of Baroque and Classical sacred music.
CPE BACH St John Passion
Simon Ber • Daniel von Berndsorf • Stephanie Dasch • Julio Fernandez • Gunnar Gudbjornsson • Jochen Kupfer • Alexandra Petersamer • Maximilian Schmitt • Elisabeth Scholl • Sing-Akademie zu Berlin • Capriccio Basel • Basel Baroque Chamber Orchestra • Joshard Daus

The tradition of the German oratorio Passion began in Hamburg in 1643 with Thomas Selle’s St John Passion and continued unbroken until the death of Carl Philipp Emanuel Bach in 1788. The oratorio Passion, made famous by Johann Sebastian Bach in his Passions, is the style that is most familiar to the modern listener. It makes use of recitative to tell the Passion narrative and initially intersperses reflective chorales but later arias and choruses as well. CPE Bach’s Passions were never published in his lifetime, and survive only in manuscript form. These materials, however, were lost after World War II and were only rediscovered in 1999. In 2001, they were returned to their home at the Berlin Academy of Song, where they remain to this day.
CPE BACH St Matthew Passion (1785)
Simon Berg • Stephanie Dasch • Thomas Dewald • Julio Fernandez • Roland Furch • Ann Jannsen • Daniel  Jordan • Jochen Kupfer • Isabella Stettner • Berlin Academy of Song • Joshard Daus

Joshard Daus has a musical mission: to make available the long-lost treasures from the music archive of the Academy of Song in Berlin resound again. CPE Bach’s St John Passion (see below) is one such work. This recording of CPE Bach’s St Matthew Passion is another. It received its first modern performance in the Berlin Philharmonic Hall on Palm Sunday 2004, captured live on CD. None of the 21 Passions CPE Bach wrote in Hamburg is an entirely original work. Though he borrowed from his own compositions, he more frequently borrowed from other composers such as Telemann, JS Bach, Homilius, Georg Benda and Stölzel.
MYSLIVEČEK La Passione di Nostro Signore Gesu Christo
Yvonne Berg • Andreas Karasiak • Sophie Kartauser • Jorg Waschinski • Chorus Musicus Köln • Das Neue Orchester • Christoph Spering

This recording is one of a series from Capriccio dedicated to settings of Metastasio’s libretto The Passion of Our Lord Jesus Christ, which was set by many composers, including Salieri (see below). Mysliveček was an important figure in the development of 18th-century Classicism, known by the Mozart family and admired by the young Wolfgang who described him as ‘full of fire, spirit and life’. His melodic inventiveness and strong sense of drama remain appealing today.
SALIERI La Passione di Nostro Signore Gesu Christo
Franziska Gottwald • Florian Mock • Hanno Muller-Brachmann • Melba Ramos • Chorus Musicus Köln • Das Neue Orchester • Christoph Spering

‘First performed at the Burgtheater in Vienna in 1776 La passione di nostro Signore Gesu Cristo is a work of Salieri’s early maturity. It’s a passion oratorio but one that gorges on operatic convention to make its powerfully dramatic points. If it’s further to be anatomised, the traditional recitative-aria and solo and chorus block voicings also faithfully follow operatic form and so Azione sacra is as good a term as oratorio to describe Salieri’s work… Salieri took a text by Pietro Metastasio written in 1730 which deals with the time after the crucifixion and burial but which precedes the resurrection.’ – MusicWeb International
ZELENKA Gesù al Calvario
David Cordier • Larissa Malikowa • Lena Susanne Norin • Ingrid Schmithusen • Kai Wessel • Rheinische Kantorei • Das Kleine Konzert • Hermann Max

‘In an age of artistic conformity, Jan Dismas Zelenka (1679-1745) had a refreshingly individual voice. In his own time he was described as 'a reserved, bigoted Catholic, but also a respectable, quiet, unassuming man, deserving of the greatest respect'. His music earned Bach's respect for its serious contrapuntal procedures; today's listeners, though, are more immediately charmed by Zelenka's quirky turns of phrase and flashes of original genius. There are plenty of these in the Passion oratorio Gesù al Calvario (1735), one of the composer's three late oratorios.’ - Andante
TELEMANN St Matthew Passion (1746)
Ekkehard Abele • Christoph Burmester-Streffer • Uwe Czyborra-Schroder • Sebastian Hubner • Wilfried Jochens • Klaus Mertens • Bernhard Scheffel • Carmen Schuller • Koen van Stade • Veronika Winter • Rheinische Kantorei • Das Kleine Konzert • Hermann Max

Telemann's St Matthew Passion was composed for Holy Week in 1746 and was probably performed at least ten times in the five main churches in Hamburg, as well as in other neighbouring churches. Telemann sets the Passion story to music in the French style. As a whole, there is a French-orientation of the recitative, and Italian melodiousness of the arias, and also influences of German oratorio tradition. All the result of Telemann's uninterrupted search for a 'true' and 'genuine' church music. In contrast to JS Bach's St Matthew Passion, Telemann's version ends with the death of Jesus.
CPE BACH St Mark Passion
Claudia Barainsky • Thomas Dewald • Bart Driessen • Maria Soulis • Ulf Bästlein • EuropaChorAkademie • Mendelssohn Symphonia • Joshard Daus

Another tremendous rediscovery from the archives of the Academy of Song in Berlin: Capriccio presents Carl Philipp Emanuel Bach’s St Mark Passion written in 1786 in a world première recording. This work, written when the composer was 72 years old, shows his skills to be quite at the height of contemporary fashion. Instead of emotional arias, the solo pieces are kept short and song-like, in a stark contrast to the famous Passion music works written by his father. Johann Sebastian.
PAISIELLO Passio di San Giovanni
Trine Wilber Lund • Monika Mauch • Jörg Schneider • Vocalconsort Berlin • l’Arte del Mondo • Werner Ehrhardt

This musical rendering of the Passion stems from Assisi in Italy, this time according to St John the Evangelist, and in Latin. It was almost certainly written by Giovanni Paisiello, who mainly distinguished himself as a composer of operas. The part of the evangelist in this version is entrusted to a soprano and sung by Trine Wilberg Lund. ‘The Passion according to St John as recorded here is a rather simple work. The Passions written by Italian composers are in no way comparable to the Passions which were written in Germany. This was the direct result of the reforms of the Council of Trent (1545–1563) which ordered settings of the Passion story to be simple, using only the text of the Gospels without any free poetic addition… This description may suggest that this work is pretty boring. That is not the case. In fact, its concise character is its main strength. And Paisiello, who was famous for his melodious invention, does not disappoint here. He has very effectively set the text to music’ – MusicWeb International
Recently Added
Jochen Kowalski • Daniel Morgenroth • Wilhelm Neuhaus • Cologne Salon Orchestra
Bulgarian National Choir • Moscow Rybin Choir • Sofia Boys Choir • Sofia Orthodox Ensemble • Yoan Kukuzel-Angeloglassniyat Ensemble & Other Artists
TELEMANN: Danzig Cantatas
Howard Crook • Klaus Mertens • Ingrid Schmithusen • Claudia Schubert • Rheinische Kantorei • Das Kleine Konzert • Max Hermann
MOZART: Piano Concertos Nos 9, 13, 21 & 23
Linda Nicholson, piano • Cappella Coloniensis • Nicholas Kraemer, conductor
MOZART: Divertimento No 17, Salzburg Symphony No 3
Camerata Salzburg • Sandor Vegh
Capriccio C10153
MOZART: Cassations K63 & K99, Adagio and Fugue K546
Camerata Salzburg • Sandor Vegh
Capriccio C10192
MOZART: Divertimenti Nos 10 & 11
Camerata Salzburg • Sandor Vegh
Capriccio C10203
MOZART: Divertimenti K205 & K287
Camerata Salzburg • Sandor Vegh
Capriccio C10271
MOZART: Serenade No 3 K185, Serenade (Notturno) K286, March K189, 5 Contredanses K609
Camerata Salzburg • Sandor Vegh
Capriccio C10302
MOZART: Divertimenti K113 & K131, A Musical Joke, Menuett K122
Camerata Salzburg • Sandor Vegh
Capriccio C10333
MOZART: Serenade No 7 "Haffner", March in D major
Camerata Salzburg • Sandor Vegh
Capriccio C10334
MOZART: Serenade No 4, K203, Contredances, Minuets, German Dances
Camerata Salzburg • Sandor Vegh
Capriccio C10376
RACHMANINOV: Variations on a Theme of Corelli, Morceaux de Fantaisie,
Suite No 2 / 6 Duets

Margarete Babinsky, Holger Busch, piano
Capriccio C49295


Easter Titles

SCHÜTZ: St Luke Passion
Johan Linderoth, tenor (Evangelist) • Jakob Bloch Jespersen, bass (Jesus) • Ars Nova Copenhagen • Paul Hillier, conductor
DACAPO 8.226019

Ars Nova Copenhagen and Paul Hillier here present the first recording in a series devoted to the narrative works (Historia) of Heinrich Schütz (1585-1672). The Danish vocal ensemble thus celebrate Denmark’s proud connection with this German master who was appointed Kapellmeister to King Christian IV and worked at the Danish court for two periods over the course of eleven years. The cover illustrations show reliefs in beaten metal by Karl Schmidt-Rottluff (1884-1976), a member of the Die Brücke group founded in 1905 in Dresden–a city with which Schütz himself was closely associated.

New Releases

GADE: Sonatas for violin and piano
Christina Åstrand, violin • Per Salo, piano
DACAPO 8.226066

Niels W. Gade (1817-1890) was beyond doubt the best known and most widely recognized Danish composer of the nineteenth century. He was an excellent violinist, and thus wrote a good deal for the violin. His fondness for the instrument is most in evidence in the works for violin and piano, among which the three sonatas trace Gade's stylistic development over 40 years: from youthful imagination in the early first sonata, through a firmer hand with the Classical-Romantic ideal of the period in the second, to the experienced, more rigorous Classical lines of the third and last, with none of the heavy scent of the Late Romanticism of the day.
JØRGENSEN: Moon-pain, Goblin Dance, Lisbon Revisited
Iris Oja, mezzo soprano • klettWood • Remix Ensemble •
Paul Hillier, conductor

DACAPO 8.226505

In his most important work to date, the song cycle Moon-pain (2003-8) for mezzo-soprano and chamber ensemble, Klaus Ib Jørgensen (b. 1967) has set the moonlit, dreaming poems of the Portuguese poet Fernando Pessoa (1888-1935) to music that is both beautiful and disturbing. The six movements of the work are interwoven here with two other, related compositions: Goblin Dance (2005) for clarinet and piano, and Lisbon Revisited (2008)–a soundscape from the streets of Lisbon, a poem by Pessoa in a variety of languages, and fragments of the Moon-pain music. This is the sound of the maternity ward of this poetry.

Recently Added

PADE: Aquarellen über das Meer, 4 Illustrations
Gert Sørensen, percussion • Richard Krug, recitation • Hele Davies Mikkelborg, harp
DACAPO 8.226544

OUR Recordings

Recently Added

Dialogue - East Meets West
Chen Yue, xiao and dizi • Michala Petri, recorders
Michala Petri 50th Birthday Concert with Kremerata Baltica - ALBINON /CHEN/MOZART/ROTA/VASSILIEV/VIVALDI
Michala Petri, recorder • Kremerata Baltica • Daniil Grishin, conductor

Phoenix Edition

New Releases

JENKINS Fantasy Suites
Simone Eckert, viola da gamba and direction •
Christoph Heidemann, baroque violin •

Ulrich Wedemeier, theorbo • Michael Fürst, organ

Simone Eckert and the Hamburger Ratsmusik devote this recording to a collection of ‘fantasy suites’. Being an innovator and reformer, Jenkins earned much applause with these pieces of music. His flexible use of modern stylistic methods, as well as the fact that his music was found in manuscript collections together with pieces from other internationally renowned composers, shows that Jenkins was an active composer also at great age and that he was much appreciated as a musician as well as colleague by younger composers.
Daniel Behle, tenor • Oliver Schnyder, piano

‘The Lied is timeless. In the Lied, every composer concentrates on the quintessence by creating, with little means, the maximum of expression,’ says Daniel Behle. Young tenor Daniel Behle, born in Hamburg, where he also lived and studied, has since 2003 been engaged at various theatres, making opera the main focus of his singing career. Nevertheless, he decided to devote his first CD recording to the German song: ‘The Lied features the composer’s essence—and demands the singer to fully reveal himself. I can only reach the Lied fundaments if I am, emotionally speaking, completely exposed and naked.’
Jorg Waschinski, male soprano • Berlin Aulos String Quartet

Jörg Waschinski is one of the most sought after male sopranos in Europe for opera and oratorio performances. For this new addition to the Phoenix Edition catalogue he sings a beautiful selection of songs by Clara Schumann. He has arranged the songs for soprano and string quartet.
SCHULHOFF Solo Piano Works
Margarete Babinsky, with Maria Lettberg & Andreas Wykydal

Erwin Schulhoff shows us how music in the 1920s was deeply experimental. The connection to the artists grouped around Otto Dix and the Dadaist Georg Grosz, as well as stylistic elements from Jazz music enriched his compositions, letting go of all known forms. His Pittoresken and Ironies for piano are creations of his experimental phase. Remarkable is his piano duet with only one written score, while the second piano had to improvise on top of it. His artistic aim was to elevate Jazz music to a superior form of music. This recording shows how thrilling his productions are. Based on her own research, Margarete Babinsky here presents a program full of entertainment and suspense. Together with duet partners, works for two pianos are brought back to life, as well as many first-timers are rehearsed.
MANKELL Solo Piano Works
Anna Christensson

Henning Mankell (1868–1930) is the grandfather of the famous writer and author of crime thrillers. He lived in Stockholm, teaching piano and harmony and became member of the Royal Swedish Music Academy in 1917, and was also a music critic for the Svenska Morgonbladet and the Stockholms-Tidningen. His compositions were until now completely unknown to us. Young Swedish pianist Anna Christensson presents them to us on this double CD. Even the Swedish Broadcasting Company has only few recordings, and many compositions were never published, the young pianist playing these virtuosic compositions from copies of Mankell’s scores. Some surprising work is unveiled: Drei Preludes op. 56 and Drei Legenden op. 59 are in the manner of Debussy or Edvard Grieg with a touch of Scandinavian melancholy, are counterposed to the Fantasiesonaten Nos. 1, 3 and 6 with their expressivity and intensity.

Recently Added

HAYDN Complete Piano Trios
Gunther Holler, Helmut Hucke, Konrad Hunteler, Christoph Huntgeburth, flute • Cappella Coloniensis • Ulf Bjorlin, Georg Fischer, Hans-Martin Linde, conductors
Haydn Trio Eisenstadt




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