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Benjamin Katz
American Record Guide, May 2009

This program pairs two keyboardists from the early music world with the modern-instrument Cologne Chamber Orchestra. Light and nimble, the orchestra is a fine complement to the delicate sounds of the harpsichord and organ. Hoeren and Haugsand play with charm and lead with the conviction of seasoned continuo players.

James H. North
Fanfare, May 2009

Hoeren and Gaugsand take the lead when called upon and give imaginative, well-rounded performances. The best things here are the Allegro finales, which are taken at spirited, upbeat tempos.

Giv Cornfield
The New Recordings, Cliffs Classics, December 2008

These concertos are on CD5 of the 6-CD set of the Complete Haydn Concertos, scheduled for release in 2009, I am told. It is nice to have a preview, though (as was the case of Vol. 34 of the Complete [108!] Symphonies, since released as CD22 in the boxed set of the complete symphonies). If this is somewhat confusing, it’s all in a good cause and adds to the fun of Naxos’ great Haydn-fest. The concertos (three for organ and two for harpsichord) are delightful rococo romps. Both soloists play stylishly, the baroque organ used is a sweet-sounding instrument that does not overwhelm, and the harpsichord almost prominent enough to satisfy my near-chronic complaint of under-recording. As an old fan of Helmut Mueller-Bruehl’s work with his Cologne Chamber Orchestra, I was not disappointed. Bravo!

David Denton
David's Review Corner, December 2008

Uncertainty still surrounds the authenticity of all eleven keyboard concertos accredited to Haydn, but he would surely have been happy to accept ownership of the three works here recorded as organ concertos. Conjecture would place them in the period when he was employed as an organist and church musician, which gives credibility to the use of that instrument. Compare them with existing recordings played on the harpsichord where they do sound pretty thin by comparison. The two played here as concertos for harpsichord are numbered 5 and 7, and were at one time attributed to the composer, Wagenseil, and I would be much happier to accept them as being from his hand. The harmonies simply do not add up to music of Haydn. That is particularly the case in the opening movement of the fifth, the rhythmic hesitations so unlike anything that appears in his other scores. Taken at face value I have thoroughly enjoyed a very well filled disc, the soloists, Harald Hoeren and Ketil Haugsand, both having spent long and distinguished careers in this era of music. Hoeren’s nimble work at the organ console is a constant delight, and both enjoy a splendid rapport with the Cologne Chamber Orchestra, under Helmut Muller-Bruhl. They play with the safety of modern instruments but with all the virtues of period authenticity. Good clean and well-balanced sound.

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