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In addition to Naxos’ own amazing catalogue, we also distribute other outstanding labels worldwide. Take a look at some of the great titles available this month from Capriccio, Dacapo, OUR Recordings and Phoenix Edition.


LASSO: Deutsche Lieder (German Songs)
Mona Spägele • Bernhard Landauer • Wilfried Jochens • Thomas Herberich • Lautten Compagney

This year the Lautten Compagney celebrates its 25th birthday. So this is the right time to re-release this 1993 recording. The young Hille Perl—nowadays a renowned viola player—was a member of the Lautten Compagney and took part in the recording. The CD contains German Lieder and instrumental pieces by Orlando di Lasso, original from Mons in Flanders, who became Bavarian court composer. It was Lasso’s aim to elevate the German Lied to a “daintier and nobler state”. Many of the works are performed by the Lautten Compagney as instrumental pieces in order to reflect the historical practice of the time.
Venetian Brass
hr brass • Edward Tarr, trumpet & leader

Thrilling Venetian music by such rarely heard composers as Lappi, Guami, Gussago and Massaino. St Mark’s Basilica in Venice was predestined for polychoral music, and Giovanni Gabrieli composed his canzonas and symphoniae sacrae for this splendid location. In the second half of the 16th century, San Marco gained its own fixed brass ensemble. The three Della Casa brothers from Udine, who played cornett or trombone according to the occasion, were the core of this group. Later, the cornettist Giovanni Bassano joined the ensemble. This recording by hr brass was probably the first experiment with performing on modern instruments in a historically informed way.
TELEMANN: Cantatas and Odes
René Jacobs, counter-tenor • Akademie für Alte Musik Berlin

This 1989 recording marked the first collaboration between René Jacobs and the Berlin-based Academy for Ancient Music Berlin, which led to a number of award-winning releases. Here, the performers embrace the spirit of chamber music, performing without a director. Since that time, both were awarded with the Telemann prize of the city of Magdeburg: the Academy receiving the prize in 2006, René Jacobs in 2008. Its own substantial musical merits aside, this recording is also an historical document of significance for all early music lovers.
JS BACH: Cantatas
Jauchzet Gott in allen Landen BWV51, Ich habe genug BWV82, Mein Herze schwimmt im Blut BWV199
Edita Gruberova, soprano • Siegfried Lorenz • Deutsche Bachsolisten • Neues Bachisches Collegium Musicum Leipzig • Helmut Winschermann •
Max Pommer


This re-release is an important document of how star singers from East and West Germany nurtured Bach’s works during the 1980s. DDR citizen Siegfried Lorenz had few chances to travel and was not able to make an international career, though in Eastern Berlin he was a leading member of the Berliner Staatsoper Unter den Linden. Edita Gruberova fled from Czechoslovakia to become a world-famous star. On either side of the Iron Curtain, the German Bach Soloists (West) and the New Bach Collegium Musicum (East) both played on modern instruments. While Helmut Winschermann directs the German Bach Soloists in the manner inherited from the 1950s, the younger Max Pommer’s interpretation with the New Bach Collegium Musicum already shows the influence of historically-informed performance practices, making an interesting juxtaposition.
JCF BACH: Secular Cantatas
Pygmalion, Die Amerikanerin, Ino
Barbara Schlick, soprano • Harry van der Kamp, bass • Das Kleine Konzert • Hermann Max

Johann Christoph Friedrich Bach (1732–1795), the “Bach from Brückeburg”. This small resideded in northern Germany for 45 years. He was appointed at the age of eighteen as chamber musician and made a career as court chapel master. Stylistically, the three cantatas on this CD are works of the transitional period between the Late Baroque and Early Classical styles and share the subject of ‘change’: the metamorphosis of a statue into a human being (Pygmalion), the visionary transmutation of the reality into a delusional picture (Die Amerikanerin), and the transformation of a human being into a God of the Seas (Ino). 20 years since their original release, these delightful works have lost none of their freshness. In June 2008, Hermann Max was awarded with the Bach medal of the city of Leipzig for championship of the music of the Bach family.
VIVALDI: The Oboe Sonatas
Burkhard Glaetzner, Ingo Goritzki, oboes • Karl Suske, violin • Christine Schornsheim, organ and harpsichord • Thomas Reinhardt, bassoon • Siegfried Pank, viola da gamba • Achim Beyer, violone

Vivaldi's oboe sonatas are not as frequently recorded as his sonatas for other instruments, so this is a rare opportunity to hear them all. On the occasion of Burkhard Glaetzner’s sixty-fifth birthday, Capriccio is republishing this 1986 recording. Glaetzner is one of the most renowned oboe virtuosos: he was professor at the Universities in Leipzig and Berlin, is a specialist for new music, and founded and directed many different ensembles. This disc also contains the first recording of the sonata for violin, oboe, obbligato organ and bassoon, RV779.
DAVID: Le Désert
Olivier Pascalin, speaker • Bruno Lazzaretti, tenor • Chor der St-Hedwigs-Kathedrale Berlin • Roland Bader, chorus master • Radio-Symphonie-Orchester Berlin • Guido Maria Guida, conductor

Félicien César David’s exotic romantic symphonic ode The Desert is best known from two excerpts: Hymne à la Nuit and Le chant du muezzin. This is a rare recording of the complete work. ‘During the times of Louis XIV one ought to be a Hellenist, now one has to be an Orientalist,’ wrote Victor Hugo in 1829 in the foreword of his collection of Les Orientales. The Orient was in vogue; it was the place of marvelous, forbidden, sensual feelings. 1844, David composed The Desert after his return from an expedition to Egypt. The surprise in this works comes up in the third movement. After a depiction of the sunrise over the desert, the tenor soloist intonates the muezzin’s call. This must have been the first Mohammedan prayer call ever to be performed on a European stage.
BRAHMS: Deutsche Volkslieder (German Folksongs)
Pamela Coburn, soprano • Hermann Prey, baritone •
Geoffrey Parsons, piano


Hermann Prey was one of the greatest lieder interpreters and Geoffrey Parsons a superb accompanist. American soprano Pamela Coburn enjoys an international career and has performed with such notable figures as Carlo Maria Giulini, Carlos Kleiber, Sir Colin Davis, Sir Georg Solti, Wolfgang Sawallisch. This CD is a double remembrance: in 2009, both German baritone Hermann Prey and Australian pianist Geoffrey Parsons would have celebrated their 80th birthdays. This 1987 recording of German popular ballads with adaptations by Johannes Brahms shows an impressive mastery: Prey’s silky timbre and precise articulation perfectly match the delicate colours of Brahms’s beautifully simple arrangements. Geoffrey Parsons was renowned for being one of the best Lieder pianists of his generation.

Capriccio Catalogue


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

Niels W. Gade (1817-1890) was beyond comparison 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.
NØRGÅRD: Seadrift
Fredrik Bock, lute • Marit Ernst, recorder • Frans Hansen, percussion • Toke Møldrup, cello • Allan Rasmussen, harpsichord • Tine Rehling, harp • Nikolaj Ronimus, recorder • Bodil Rørbech, violin • Bente Vist, soprano • Casper Schreiber, conductor • Thomas Søndergård, conductor
DACAPO 8.226067

Heavenly beauty and redeeming joy: Per Nørgård’s vocal music from the 1970s explores the ordered harmony of the universe. Nova Genitura (New Birth) and Fons Laetitiae (Fountain of Joy) grew out of Nørgård’s epoch-making third symphony and continued its homage to the Virgin Mary. Seadrift has a text by Walt Whitman and heralds the changes that appeared in Nørgård’s music a few years later. All three works were inspired by early music and make original use of instruments like lute, harpsichord and recorder. At the centre stands Bente Vist’s scintillatingly clear soprano voice.
JØRGENSEN: Moon-pain, Goblin Dance, Lisbon Revisted
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.
OLSEN: In A Silent Way
Esbjerg Ensemble • Christopher Austin, conductor
DACAPO 8.226525

Of contemporary developments in the thriving music of Denmark, one might say that all things are possible, and some things are more possible than others, but none might be predicted. The work of Morten Olsen is one such phenomenon, growing from a rich and deeply rooted culture, yet flourishing in a way that no amount of aesthetic wisdom might have foretold. The four items in this collection, Kata (2008), In a Silent Way (2007), Oryq (2007) and Ictus (2005), are the most recent testimony to his adventure in composing. For almost forty years, the Esbjerg Ensemble has set the standard for chamber music in Denmark and has exerted a strong influence on the work of a considerable number of Danish composers. One of the UK’s foremost conductors specialising in contemporary repertoire, Christopher Austin has given more than 80 world and local premieres in the last decade, including works by John Adams, Simon Bainbridge, Luke Bedford, Michael Finnissy, Morgan Hayes, Elisabeth Lutyens, John McCabe, Colin Matthews, Olga Neuwirth, Steve Reich, Poul Ruders, Bent Sørensen and Raymond Warren.
PADE: Aquarellen über das Meer, 4 Illustrations
Gert Sørensen, percussion • Richard Krug, recitation • Hele Davies Mikkelborg, harp
DACAPO 8.226544

With this CD DACAPO presents two works by Else Marie Pade (b. 1924) that have never before been released, or even played in a concert. They are a mainly acoustic piece, Aquarellen über das Meer I-XXI on a poem Das Meer (The Sea) and 21 water colours, both by Pade’s friend Hans Georg Sønderlund Hansen. These are musical paintings, all one minute long, which have their sonority from the rich palette of the percussion. The disc’s other piece is all-electronic, 4 Illustrations —samplings of old tapes of early electronic experiments: The result is four fully conceived, organic, serial, minimalist and fairytale-like works. Although so far several CDs of Else Marie Pade’s music have been released, there are still new experiences ahead before we have a full overview of her pioneering musical efforts.

DACAPO Catalogue

Phoenix Edition

The new label Phoenix Edition is the brainchild of Johannes Kernmayer, for many years artistic director at Capriccio. Phoenix Edition features artists such as Christine Schäfer, Reinhold Friedrich, Arleen Auger, Simone Kermes, Thomas Quasthoff, Christoph Eschenbach, the Petersen Quartet, L'Orfeo Baroque Orchestra, WDR Radio Choir and Orchestra Cologne, Kontraste Koln, Das Neue Orchester conducted by Christoph Spering, Haydn Trio Eisenstadt, Vienna Symphony Orchestra, and other leading performers. The label focuses on rediscovering works written by neglected composers.

Soprano Cantatas
Emma Kirkby, Sophie Boulin, Isabelle Poulenard, sopranos • Hans-Martin Linde, transverse flute • Cappella Coloniensis • Hans-Martin Linde, Ferdinand Leitner, conductors

Historical performance practice has its own story too. It is fascinating to encounter, towards the end of the first decade of the 21st century, recordings from the 1980s. Emma Kirkby, who is still active today, was considered to be the uncrowned queen of emotional, instrumentally-led vocal tone, which was seen as paradigmatic for performances of baroque music. In Handel’s Latin motet Silete, venti she gives a virtuoso example of her art. Since the work cannot have been written for the Anglican church service, the supposition remains that Handel wrote it especially for one of his much-loved female vocal virtuosi from the opera company. Emma Kirkby’s colleague Sophie Boulin is no less a virtuoso than the English woman, as is proved by the cantatas by Bach and Hasse. The occasion and the exact circumstances for the creation of Bach’s cantatas Non sa che sia dolore BWV 209 are not known; possibly the piece was even written by another composer. La Gelosia (Jealousy), the solo cantata written in 1762 by Johann Adolf Hasse and based on a text by his preferred librettist Pietro Metastasio, conveys in exemplary fashion an impression of the style of the courtly aristocratic Italian opera.
Cappella Coloniensis • Hans-Martin Linde, conductor

Cappella Coloniensis delivers an impressive example for the compositional art of the German Baroque with orchestral works by Graupner, Heinichen and Fasch—all born in the 1680s—as well as Johann Gottlieb Graun (1703–1771). All four composers were from central Germany (Saxony, Saxony-Anhalt, Thuringia, Brandenburg). The colourfully orchestrated overtures and orchestral suites give the soloists in the Cappella Coloniensis ample opportunities to present their virtuosity.
Classical Symphonies
Cappella Coloniensis • Hans-Martin Linde, conductor

This CD brings together recordings by Cappella Coloniensis with repertoire which was typical for this orchestra during the ‘80s. Music from the Renaissance and Baroque as well as from the period of Viennese Classicism by Haydn, Mozart and their contempories profited from the sleek, clear sound of original instruments. And at that time few others played pieces by composers such as Gossec, Kraus, Mahaut or Vanhal. Filling in these blank areas on the musical map remained the historic task of the Cappella Coloniensis and its conductor. And for the listener, today as then, it is a special pleasure to go on a journey of discovery and actually to hear these symphonies. Joseph Martin Kraus is regarded today as a significant composer with his own, idiosyncratic musical language.
CHERUBINI: Dirge on the Death of Joseph Haydn
Marilyn Schmiege, soprano • Martyn Hill, Paolo Barbacini, tenor •
Cappella Coloniensis • Gabriele Ferro, conductor


A macabre situation: The press has announced the death of one of the most famous contemporary composers; another renowned composer writes a dirge—in honor of the deceased master—and then it turned out to be nothing but a newspaper hoax: The master is still alive! That is exactly what happened in 1804. Joseph Haydn actually lived five more years after that. A French Masonic Lodge commissioned Florence-born Paris resident Cherubini (1760–1842) to write a memorial cantata in honour of him. Cherubini, who had felt particularly committed to Haydn since having been welcomed by him in Vienna, composed a score setting lines written by Louis Guillemain de Saint-Victor, who had written some essays on free masonry. These verses depict the touching singing of a dying swan “by the banks of the Danube River”. This recording includes Cherubini‘s Symphony in D major.
HAYDN: Scena di Berenice, Miseri noi misera patria, Violin Concerto No 4, Symphony No 92 in G major “Oxford”
Marilyn Schmiege, soprano • Ingrid Seifert, violin • Cappella Coloniensis • Hans-Martin Linde, Ferdinand Leitner, conductors

This CD presents one of Haydn’s most famous symphonies and other less familiar works. This corresponds to the approach of the Cappella Coloniensis with regard to the work of one of music’s greatest masters. During the ‘80s, Haydn’s symphonies still formed part of repertoire of large symphony orchestras playing modern instruments. By recording the “Oxford” Symphony beside lesser-known works, the Cappella Coloniensis’s mission to perform in a historically-informed manner and to uncover neglected treasures of music was fulfilled. Two young and highly-talented musicians played an important part: violinist Ingrid Seifert, founder and orchestra director of London Baroque, and vocal soloist Marilyn Schmiege.
CARL & JOHANN STAMITZ: Clarinet Concertos, Orchestral Quartet
Hans Deinzer, Jann Engel, clarinet • Cappella Coloniensis • Gabriele Ferro, Ulf Björlin, conductors

In 1745, Bohemian-born Johann Stamitz (1717–1757) became director of the Mannheim court orchestra, which he helped transform into Europe‘s most famous orchestra. His works include the first real clarinet concerto, performed on this CD in an exemplary fashion by Cappella Coloniensis with soloist Hans Deinzer, who, from the ’60s through the ’90s was one of the 20th century’s most influential soloists and teachers. Deinzer’s students include Sabine Meyer, Reiner Wehle, Wolfgang Meyer, Martin Fröst and Andrew Marriner. Carl Stamitz (1745—1801), Johann’s eldest son, entered the Mannheim Court Orchestra at the age of 16, and lived a vagrant life as a violin teacher and virtuoso before settling down as Director of Academic Concerts in Jena. Among his eleven clarinet concertos that for two solo clarinets recorded on this CD has a special position. It was published in Paris in 1780 but was arranged for clarinet and violin to increase its salability. It was not until the 20th century that this work was returned to its original form.
HASSE: Cleofide (highlights)
Emma Kirkby, Agnès Mellon, soprano • David Cordier, Derek Lee Ragin, alto • Cappella Coloniensis • William Christie, conductor

In the ’80s, Cappella Coloniensis attracted renowned conductor and Baroque opera specialist William Christie from his famous Paris-based ensemble Les Arts Florissants to Cologne for a studio recording of Johann Adolf Hasse’s opera Cleofide of 1731. Christie readily accepted an invitation by the WDR [the West German Broadcasting The result was a highly praised, award-winning recording that set standards for the interpretation of Baroque opera. The crème de la crème of virtuoso Baroque singers perform on this recording: Emmy Kirkby, Agnès Mellon, David Cordier, Dominique Visse, and Derek Lee Ragin play the opera’s game of love, power and jealously in h a breath-taking manner.
Phoenix Edition Catalogue

OUR Recordings

Created in late 2006, OUR Recordings was established as a musical showcase featuring the talents of Michala Petri, the preeminent recorder virtuoso of her generation and the visionary musical explorations of long-time-duo-partner, guitarist and lute player Lars Hannibal. As the name of this boutique label indicates, the releases are recordings where either Michala Petri or Lars Hannibal or both are involved.

Dialogue - East Meets West
Chen Yue, xiao and dizi • Michala Petri, recorders

Ten new compositions by five young Chinese and five young Danish composers whose colorful and varied works provide distinctive visions of the musical encounter between China and the West. Six venerable instruments: the xiao (Chinese end-blown flute), dizi (Chinese transverse flute) and sopranino, soprano, alto and tenor recorders played by two first ladies in their field. A unique musical dialogue. Whether combining tradition and innovation, Eastern and Western elements, borrowed or newly created musical resources, each piece is an exploration of how these disparate and seemingly mutually exclusive cultures can provide new possibilities for creativity and beauty.
OUR Recordings Catalogue

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