The Orchester Wiener Akademie and its conductor Martin Haselböck continue their Resound Beethoven series. The aim of this series is to record the complete Beethoven symphonies on period instruments in the venues where they were first performed, scrupulously respecting the layout of the orchestra used 200 years ago. Volume 4 is devoted to the Symphony No. 3, “Eroica” and the Septet op.20. The recording took place in May 2016 in the Eroica Saal at the Palais Lobkowitz, where each symphony was premiered in 1804 and 1807, in private performances.

Theatre Music - the dialogue in the service of great poetry - is the focus of this recording. We have already been able to perform Egmont with several renowned actors. That the part of the narrator is here taken by Herbert Föttinger, currently the director of the theatre for which Beethoven himself wrote music, is beautifully fitting. Christopher Hampton has modeled the combined texts of Goethe and Grillparzer into his poetic English translation. It fills us with great joy and gratitude that John Malkovich - with whom we have already had the pleasure of collaborating for several years - has taken on the part of the narrator in the English version.

It was shortly before his forty-third birthday that Beethoven hit the jackpot. On the podium of the Great Hall of Vienna University, he conducted a spectacular charity event with a star-studded cast from the very top drawer. On that date, 8 December 1813, the success was so great that the concert had to be repeated four days later. For this event, Beethoven had taken an entertainment specialist on board: Johann Nepomuk Mälzel, ‘k. k. Hofmechanicus’ (Mechanic to the Imperial and Royal Court) by trade, an inventor as talented as he was crafty. From late summer to autumn 1813, assisted by Mälzel, Beethoven was engaged in the composition of Wellingtons Sieg (Wellington’s Victory).

It's increasingly common to hear the symphonies of Ludwig van Beethoven played on original instruments and according to authentic period practices, which have become de rigueur for many contemporary conductors and orchestras. But Martin Haselböck and the Vienna Academy Orchestra go one step further by playing them in their original Viennese venues, thus creating something close to the sound and impact of the first performances. For this first installment of the Re-Sound Beethoven series, the Symphony No. 1 in C major was recorded in the Imperial and Royal National Court Theatre, where it was premiered in 1800, while the Symphony No. 2 in D major was recorded in the Theater an der Wien, the site of its debut in 1803.

Some ten years probably separates the composition of the Missa in honorem Beatissimae Virginis Mariae (c. 1768) from the Missa brevis Sancti Joannis de Deo (c 1777–8). Because of the virtuoso role of the organ in each work the former has become known as the ''Great Organ Mass'' and the latter as the ''Little Organ Mass''. 'Great' and 'Little' reflect both the size of the orchestras and the scale of each work. Thus the earlier of the two Masses is on an altogether grander scale than the later one. It is scored for a four-part chorus, four soloists (SATB), strings, cors anglais, horns, bassoon and obbligato organ, and in this performance additional trumpet and trombone parts found in one of the work's sources, are included as well. Doubtfully authentic timpani parts are also present.

"In this second volume of "Legends of the Saints", the Orchester Wiener Akademie, under the direction of conductor and organist Martin Haselböck, continues its recording of Liszt's mystical works. During the frequent religious periods of his life, the composer turned his attention to the lives of great martyrs and saints, who provided him with an entire body of work. These works, including two previously unreleased recordings of Jeanne d'arc au bûcher, Die heilige Caecilia and the Salve Polonia from the oratorio St Stanislaus, are performed here by the Wiener Akademie and a magnificent vocal cast (Sunhae Im, Stephanie Houtzeel and Sofia Vinnik as well as Thomas Hampson), whose timbres blend with the organ, harmonium, piano and harp to reveal the inexhaustible genius of Liszt's work."

Franz Liszt’s art songs form a fascinating repertoire. His lieder served as a vehicle for his own artistic and aesthetic development, but also as inspiration for his contemporaries, who soon followed in his footsteps in composing songs for voice and orchestra.

Unsere Edition mit kirchenmusikalischen Schätzen aus der Wiener Hofkapelle mit der Wiener Akademie unter der Leitung von Marin Haselböck trägt den Titel MUSiCA IMPERIALIS. Dass man diesen Titel ganz wörtlich verstehen darf, macht unsere 2. CD in dieser Reihe deutlich: Sie enthält drei große Trauerkompositionen von Kaiser Leopold l. (1640-1705). Leopold regierte von 1658 bis zu seinem Tod als umstrittener, weil unentschlossener und weniger der Politik als der Musik und der Religion zugetaner Herrscher.

The Mass in E flat was most likely composed for the 1804 Marienfest in Eisenstadt, an annual event celebrated with great pomp and splendor to honor the Fürstin Maria's name day, usually on the weekend following the Mariä Geburt observance (September 8). For the Marienfest, the Fürst usually hosted a banquet, a ball, and a concert, in addition to a military parade and fireworks. He also commissioned a new Mass each year (the late masses of Haydn and the Mass in C of Beethoven owe their existence to the Marienfest).

Fux was a prolific composer of vocal and instrumental music. His works include 19 operas, of which Costanza e fortezza (1723) is notable; 29 partitas, including the Concentus musico-instrumentalis (1701); 10 oratorios; and about 80 masses, of which the Missa canonica, (1708), written in canon. His book Gradus ad Parnassum" (1725; Steps to Parnassus) attempted to systematize contrapuntal practices. It was long the standard textbook on counterpoint and was studied by Wolfgang A. Mozart, Joseph Haydn, and other 18th-century composers.

Liszt’s predestination for sacred music doubtless stemmed from his childhood, when he had close ties to Catholicism through his father. He went on to compose many works expressing the virtues of various saints, and to those works Martin Haselböck and the Orchester Wiener Akademie are devoting a series of recordings.

This 10 CD-Set offers a collection of the most popular Mass compositions from the Viennese Classics up to the romantic period. It includes famous masterpieces like Mozart’s „Coronation Mass“, Beethoven Missa solemnis, Haydn „Harmony Mass“, Gounod St. Cecilia Mass but also rarities like „Missa Sancti Joannis Nepomuceni“ by Michael Haydn, the „Coronation Mass“ by Cherubini, „Missa sacra“ by Robert Schumann and the „Misa solemnis“ of the german romantic composer Friedrich Kiel. Performed by well known artists like the Vienna Boys’ Choir, RIAS Chamber Choir, Tölzer Boys’ Choir, Wiener Akademie and last but not least also includes the spectacular recording of Beethoven’s Missa solemnis with conductor Michael Gielen.

Johann Joseph Fux (1660-1740) was an influential teacher, having written 'Gradus ad Parnassum' which codified compositional principles for musical training throughout the classical era. His compositions include abundant church music, operas, and numerous suites and trio sonatas. Counterpoint in his compositions was a hallmark of his style but did not keep him from incorporating modern tendencies in his music. The 'Missa Corporis Christi' was written in February, 1713, probably written for the next Feast of Corporis Christi, which fell on June 15 in that year.

With a libretto based on the Old Testament account of Gideon and his non-violent triumph over the Midianites, the Neapolitan composer Nicola Porpora (1686-1768) produced a score which, though far from consistent, has moments of great beauty. Among them are Gideon’s aria ‘Cadranno i lupi’; a sublime Sinfonia at the opening of Part Two; a couple of fine choruses and, above all, beautifully wrought recitatives. These apart, don’t expect a forgotten masterpiece. This performance – the first in modern times – boasts competent and well-matched soloists.

Brilliant Classics' Telemann Edition is a cube-shaped, flip-top box set of 29 CDs, drawn from the label's extensive back list. Georg Philipp Telemann was a major figure of the Baroque era and one of the most prolific composers of that or any age; his massive output encompassed Tafelmusik (music for the table), concertos, orchestral suites, chamber works, keyboard pieces, oratorios, operas, and cantatas. This collection is comprehensive in its coverage, providing an in-depth appreciation of Telemann's highly varied and innovative work, and the performances by a long roster of European musicians show a fine sense for period practices. To fit so many discs into this package, they are protected by thin cardboard sleeves, and the thin booklet that accompanies them gives a brief explanation of Telemann's career and reputation over the succeeding centuries. However, the sound quality is only slightly variable and quite pleasant throughout, and the package as a whole is likely to satisfy any Telemann fan.