"…no period orchestra has ever sounded better" ~New York Times
"If anyone has recorded a lovelier Mozart recital in recent years, I've yet to hear it. In her early thirties, Kozená is now consummate mistress of her art. Her liquid high mezzo, with its easy upward extension, combines warmth with the bloom and freshness of youth, while her coloratura, on display in 'Al desio di chi t'adora' . . . is as brilliant and expressive as Bartoli's, yet without the Italian diva's intrusive aspirates . . . Fortepianist Jos van Immerseel is an equally sympathetic partner in an impassioned yet intimate performance . . ." ~Gramophone
Die vierte Staffel der erfolgreichen dhm Editionen. 10 herausragende Aufnahmen in einer hochwertigen Box mit Originalcover zu einem sensationell günstigen Preis..
Authentic and authoritative, these 1985 recordings of Mozart and Beethoven's quintets for piano and winds have almost everything going for them. Performing on a pianoforte modeled on a 1790 Viennese instrument, Jos van Immerseel is an adroit player, while the quartet drawn from the period instrument wind band Octophoros – Paul Dombrecht on oboe, Elmar Schmid on clarinet, Piet Dombrecht on horn, and Danny Bond on bassoon – are likewise all skillful instrumentalists. But while their playing is beyond contention – listen to their keen balances, their smooth ensemble, their unified rhythms – their interpretations miss the one thing that defines these works: their sense of fun..
In 1996 and 1997, Anima Eterna Brugge played and recorded Schubert’s complete symphonies in the particularly innovative interpretation of their conductor, Jos van Immerseel. This interpretation, based on the study of Schubert’s manuscripts and on the instruments used at the time of their first performance, showcases sound colors combining freshness and profundity. Upon its initial release, this series of 4 CDs was recognized internationally as a new reference.
Period-instrument performances of Beethoven's violin sonatas aren't too common; they pose thorny problems of balance even beyond the question of whether Beethoven wouldn't have preferred modern instruments if he could have had them. But this superbly musical set by violinist Midori Seiler, playing an Italian Baroque violin of unknown manufacture, and fortepianist Jos van Immerseel, on a copy of an entirely appropriate Viennese Walter piano, may well redefine the standard for these works. The sonatas were recorded at different times in the late 2000s decade, and some were issued separately, but all were very nicely recorded in the chamber music hall of the Luxembourg Philharmonie, and they are very much a set. The joys of these recordings run across all three discs (the ordering of the sonatas was done merely in order to fit the complete program onto three), and they come from both players as well as from the interaction between the two.
…As for the orchestral playing, it leaves nothing to be desired; intonation is true and ensemble is razor sharp. Anima Eterna captures the music’s raw energy and succeeds in coupling it with eloquence and warmth, resulting in a wonderful blend of soul and virtuosity. In the end, these are sterling performances, certainly capable of going toe-to-toe with the period-instrument competition and well worth the time and effort to open your wallet.
Two ripe musicians, meet around Beethoven and good performance. Introductions followed by expressive passages, Dialogues, reprises, exchange of thoughts, soft ends, lots of Rubato, Accentuato and many very nice music are all about these two sonatas. Immerseel and Schroder are great.