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Capriccio, DACAPO, OUR Recordings and Phoenix Edition are distributed globally by Naxos. Here are some marvellous new releases and albums recently added to


New Releases
Linos Ensemble

“Once again, Schoenberg has a great idea in mind: [...] the foundation of an association for the weekly rehearsal to its members of music ‘from Mahler to our days’”. (Alban Berg in a letter to his wife Helene on 1 July 1918) 
After the success of ten public rehearsals by Arnold Schoenberg of the Chamber Symphony in Vienna, this new concept was launched. The association was not only a haven for musical novelties but was also renowned for its unconventional approach: the program was kept secret (“in order to achieve a constant number of visitors”), the music was always well rehearsed, new works were performed more than once, the concerts were not open to the general public, applause and criticism were both forbidden (“to give the artists and the audience a genuine and accurate oversight of modern music”).The understanding of music was the one and only aim. A legendary event was the ‘extraordinary soirée’ on 27 May1921: four waltzes by Johann Strauss arranged by Anton Webern, Alban Berg and Arnold Schoenberg. After the concert, in which the composers also acted as interpreters, (Berg playing harmonium, Schoenberg first violin and Webern cello), the manuscripts were auctioned to raise money for further concerts. The evening was a great success, not only because of the stylistic contrast between Strauss and the Second Viennese School composers, but also thanks to the witty speech that was given by Schoenberg.
REIMANN Cantus, Ollea, Arietta, Solo for Clarinet, …Ni Una Sombre
Jörg Widmann, clarinet • Moijca Erdmann, soprano • Axel Bauni, piano • WDR Symphony Orchestra Cologne • Peter Rundel, conductor

The two Lieder cycles, solo pieces and a clarinet concert are bound together by one great theme. Henirich Heine’s Helena says ‘Press your mouth against mine / Human breath is the breath of God / I drink from your soul / the dead are insatiable’. Human breath, love, songs in contemplation of death—these are the leitmotivs of the present CD. In Cantus, the sound of the clarinet rises up to the supernatural, beyond what can be sung by the human voice. Reimann sets to music a poem by Heine for solo soprano, Ollea. Moijca Erdmann’s clear soprano voice is perfectly suited for this work. It seems like she is able to cover effortlessly the gloomy and ominous span of the ‘poet’s love’.
BUSONI Piano Transcriptions and Paraphrases (4-CD Set)
Holger Groschopp, piano

Busoni’s way of dealing with the works of other masters was quite broad, ranging from editions with only a small quota of his own arrangements and straightforward transcriptions to paraphrases and ‘modern’ compositions with a mix in styles. He approached geniuses like Bach and Mozart at their level, sometimes even ‘correcting’ their works—for which he often was criticised. This 4-CDs set contains almost all of Busoni’s adaptations, as well as compositions by himself based on other’s works. The CDs contain only excerpts of his early piano works (based on Mozart and Schubert) and his famous Bach piano transcriptions. For many years, pianist Holger Groschopp has performed these transcriptions, also finding unknown works that were previously unreleased.
Sport, Sport, Sport (1970), The Adventures of a Dentist (1977)
Berlin Radio Symphony Orchestra • Frank Strobel, conductor

Between 1961 and 1984 Alfred Schnittke composed as many as 60 soundtracks. His polystylistic arrangements were perfectly suited for movies. Composing soundtracks was for him a way of expressing his artistic views, and thus he can be named alongside Shostakovich, Prokofiev and Khachaturian. For many years Schnittke’s widow, Irina, publisher Hans Sikorski and director and soundtrack expert Frank Strobel have devoted themselves to exploring the composer’s hand-written scores. Schnittke wanted to give these compositions exposure in the concert hall. Frank Strobel has made it possible to meet Schnittke’s desire; a number of concert suites have already been collected and arranged for this purpose. The present SACD is the fourth album in a series of soundtracks by Schnittke to be released by Capriccio.
Also Available
SCHNITTKE Film Music Edition Vol 1 - Die Geschichte Eines Unbekannten Schauspielers, Die Kommissarin
Berlin Radio Symphony Orchestra • Frank Strobel
SCHNITTKE Film Music Edition Vol 3 - Das Marchen der Wanderungen,

Berlin Radio Symphony Orchestra • Frank Strobel
Recently Added
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


New Releases

LUNDBY-JÆGER Chamber Music and Songs
Helene Gjerris, mezzo soprano • Danish Chamber Players
DACAPO 8.226533

Bo Lundby-Jæger (b. 1964) finds the germ of his chamber music in poetry and in the individual characteristics of the instruments. Poetry is the music’s expressive undertone and the texts give much of the music its specific content. The five works on the CD—Offertorium (1997), 7 stages to 3 Chinese texts (1996-2005), Trio in two movements (1996), Elements in 3 movements (1998) and  Three songs (2006)—contain music of simple contrasts between new melodies and old forms, between inward calm and pulsating motion, which together produce a succession of original and straightforward musical experiences.
LANGGAARD Messis, In ténebras exteriores (Buried in Hell)
Flemming Dreisig, organ • Vor Frue Kantori
DACAPO 6.220528-29

In the 1930s the Late Romantic outsider Rued Langgaard (1893–1952) concentrated on a single composition: Messis, a visionary organ drama of the end of the world. As one of the most expansive works in the organ literature it is also a compendium of a vanished Romantic era which goes to the heart of Langgaard’s religious view of art. In ténebras exteriores (Buried in Hell) from 1947 builds further on Messis, but in this case it is Langgaard’s sarcastic pessimism that predominates.

OUR Recordings

New Releases

Michala Petri 50th Birthday Concert
Works by Albinoni, Chen Yi, Mozart, Vassiliev, Vivaldi & Heidrich
Michala Petri, recorder • Kremerata Baltica
OUR Recordings 8.226905

‘Being able to perform on my 50th birthday in Tivoli Concert Hall was very special for me. It was in this very hall that I had my debut four decades earlier—playing there twice in the same season: once accompanied by my mother on the piano, and once as a soloist with the orchestra in which my father played the violin, and which I had listened to from the audience from before I can remember. Tivoli Concert Hall has been for me, the location of many memorable occasions, including my 30th and 40th birthday celebration concerts. For this particular concert, I was grateful to be able to perform with the wonderful Kremerata Baltica—and to share this night with many family members and friends—both on stage and in the audience—all contributing to a feeling that many different aspects of my life had been brought together.’ – Michala Petri

Phoenix Edition

New Releases

JS BACH Reconstructed Solo Concertos
Christine Schornsheim, organ • Karl Suske, violin • Burkhard Glaetzer oboe, oboe d’amore • New Bach Collegium Musicum Leipzig • Max Pommer, conductor

It is hard to ascertain how many instrumental concertos Johann Sebastian Bach composed: many relevant sources were lost, while biographical and historical documents are sketchy. Many transcriptions are known from the period between 1713 and 1714 and some evidence points to the fact that Bach started composing original concertos in those years. For decades the question has arisen whether some of Bach’s Leipzig concertos were based on works from his time working in Weimar and Köthen. Since the end of the 19th century many attempts were undertaken to recreate lost originals—some successful, some not, and with different claims for authenticity. The concertos on this CD attempt to reconstruct lost original versions and to rediscover Bach’s early period—and the result is fascinating.
HANDEL Opera Arias & Solo Cantatas
Jochen Kowalski, countertenor • Akademie für Alte Musik Berlin • Axel Köhler, alto • Das Kleine Konzert • Harmann Max, conductor • Handel Festival Orchestra of the Halle Opera House • Howard Arman, conductor

In Rome, where a Papal decree forbade the performance of operas, Handel took up the Italian cantata in the style of the great Alessandro Scarlatti. Many of these cantatas, which later were used by Handel as foundations for new compositions, were simply accompanied by continuo alone; only a small number required a greater number of obbligato instruments. Jochen Kowalski and Axel Köhler give us an impression of the interpretative style of that period. On the third CD, Axel Köhler excels with famous opera arias which Handel originally wrote for the voice of the famous castrato Senesino.
SCHUBERT Choral Music
Wienner Sängerknaben • Berlin Radio Choir • Regensburg Domspatzen
• RIAS Chamber Choir • Carl Maria von Weber Male Choice Berlin


Schubert dealt rather freely with liturgical texts: sometimes he left a movement out (Salve Regina) or rearranged the wording, as he also did with secular texts. Some 70 settings are after texts by Friedrich Schiller, 75 by Johann Wolfgang von Goethe. We know that Schubert had a catholic outlook, which later was broadened by ideas from Goethe and Schiller. Beside the praise of God, these works also express grief for the sorrow of mankind. Schubert’s works for male-voice choirs are an important part of his secular choral output. His friends Freiherr von Spaun and Joseph Willhelm von Witteczek moved into a garden house in the Erdberggasse. There, they developed what soon became known as the ‘Schubertiads’, occasions where a growing circle of friends met and performed many of his works. A great rôle was played by quartet movements for mixed and male voices (with or without piano) which were challenging for the singers and today remain very popular among professional and amateur choirs.
TCHAIKOVSKY Orchestral Suites (3-CD Set)
Academy of St Martin in the Fields • Stuttgart Radio Symphony Orchestra
• Sir Neville Marriner


In the decade between his fourth and fifth symphonies, Tchaikovsky concentrated on works for orchestra, among these the series of four Orchestral Suites. Tchaikovsky’s fourth suite, composed in 1877, excelled above the others. During work on his third symphony, the composer writes that he was playing Mozart with much joy and had the idea of a suite after Mozart. The suite Mozartiana is evidence of Tchaikovsky’s lifelong admiration for the great composer. In addition to the Suites, this 3-CD Set includes Tchaikovsky’s much-loved Romeo and Juliet Fantasy Overture, the symphonic fantasy Francesca da Rimini and the Capriccio Italien.
Le Ballet Français (French Ballet)
DELIBES Coppélia, CHOPIN (arr. Douglas) Les Sylphides, ADAM Giselle, MASSENET Cendrillon (Cinderalla), DEBUSSY (arr. Caplet) La Boîte de Joujoux (The Toybox), DELIBES Sylvia
Academy of St Martin in the Fields • Sir Neville Marriner
• Berlin Radio Symphony Orchestra • Heinz Fricke


Since the second half of the 19th century, the opera house was Paris’s ‘social watering hole’. The Foyer de la danse became the meeting point for aristocrats, politicians and artists, such as Meyerbeer, Scribe, Adam and Gautier. The ballet ensemble of the Grand Opéra became bigger and bigger, at times numbering up to 150 members, plus 150 extras. For Léo Delibes, the ballet was foremost a drama without text. Coppélia, premiered on 25 May 1870 in Paris was a great success. Massenet’s fairy-tale ballet Cinderella was full of fairies, fantasy and magic. Debussy described his children’s ballet The Toybox as ‘a work made for the entertainment of children, nothing more’, yet it is a masterly composition with many original ideas and leitmotivs representing different toys.  Wagner reported sarcastically on the première of the ballet Giselle in 1841 for the Dresdner Abendzeitung: ‘Only if they [ie. the audience] take them [ie. the characters] for Germans, can the French understand this…Spectators of a Paris masked ball know that a Frenchman can’t be danced to death.’
1001 Nights – Breezes from the Orient
REYER Le Sélam (The Greeting), SZYMANOWSKI Songs of the Lovesick Muezzin, Excerpts from CORNELIUS The Barber of Bagdad, GLUCK The Pilgrims to Mecca & The Cheated Cadi, HASSE Solimano, MOZART The Abduction from the Seraglio, WEBER Oberon, SAINT-SAËNS Samson and Delila, RICHARD STRAUSS Salome; RIMSKY-KORSAKOV Shererezade,
RAVEL Shéhérezade (three poems for voice and orchestra)

‘In the age of Louis XIV one was a Hellenist, nowadays one has to be an Orientalist,’ wrote Victor Hugo in the preface of his poems collection Les Orientales of 1829, characterizing a general French tendency in 19th century: since Napoleon’s expeditions to Egypt and Algeria, and alongside exciting archeological discoveries in the Near and Middle East, the orient was in vogue. Authors like Gérard de Nerval, Théophile Gautier and Gustav Flaubert rendered homage to this fashion, as well as painters such as Delacroix, Ingres, Regnault and Gérôme. The Orient represented the mysterious, marvellous and forbidden, the sensual and the strange. Music wasted no time in joining this imaginary caravanserai from the East, with countless works drawing inspiration from the magical tales and dreamlike vistas of the Orient—at once barbaric and sophisticated, fantastic and fatal, its irresistible allure drawing the imagination beyond distant horizons.

Recently Added

Daniel Behle, tenor • Oliver Schnyder, piano


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