In their survey of Haydn's string quartets for ASV, the Lindsays have set about the business of restoring these Classical masterpieces to their proper place in the repertoire, with all their brilliant wit and brusqueness intact, and without undue sweetening or romanticizing. The point, it seems clear, is to bring Haydn out from under the familiar shadows of Mozart and Beethoven, and to render his quartets as the true models of quartet writing, not as light Rococo divertissements or tamer antecedents of greater works. The Lindsays are sharp in their characterizations of Op. 33, Nos. 3, 5, and 6, and their lean textures, crisp articulation, transparent repartee, and pungent attacks distinguish these performances from more commercially pretty or polished versions.

Eldbjørg Hemsing has been a household name in her native Norway since childhood and made her solo debut with the Bergen Philharmonic Orchestra at the age of 11. During and after her studies in Vienna, she has absorbed repertoire ranging from Beethoven to Tan Dun, a composer she has collaborated with on several projects in both Europe and Asia. The present disc marks Eldbjørg Hemsing s first appearance on BIS, and is also her début CD. For the occasion she has chosen to highlight an all but forgotten work by a countryman, Harald Borgström. Like Grieg in the preceding generation, and indeed like many Nordic composers in the late nineteenth century, Borgström went to Germany to study. However, in contrast to Grieg who returned from Germany firmly resolved to carve out an authentic, Norwegian idiom, Borgström came back a staunch proponent of new German symphonic music.

Korngold was one of the most amazing prodigies in musical history, and more gifted than Mozart in that he arrived musically fully formed. He was just 12 years old when he composed his Op.1 Piano Trio.

The four young singers of Ensemble Quartonal are among the most sought-after vocal ensembles in Germany. This time, their album program features dreamlike and fabulous romantic vocal music from the 19th and early 20th centuries with works by Mendelssohn, Rheinberger, Poulenc, Josef Kromolicki and Mathieu Neumann, among others.

Highly impressed by the Moravian Duets, even though the set had yet to be issued, the Berlin-based publisher Fritz Simrock wrote to the young Antonín Dvořák, commissioning from him another work and outlining his idea of its being in the fashion of Brahms’s Hungarian Dances. The composer duly sketched the first series of Slavonic Dances within a few hours, and completed the version for piano four hands in three weeks.

Often overshadowed by the likes of Mozart and Beethoven, Joseph Haydn’s piano sonatas have a profound story to tell. From his humble beginnings as a piano teacher to his pivotal role in the Esterházy court, Haydn’s journey as a composer and performer was as intricate as his compositions.

Lily Laskine was one of the most prominent harpists of the twentieth century. Born Lily Aimée Laskine to Jewish parents in Paris, she studied at the Conservatoire de Paris with Alphonse Hasselmans and became a frequent performing partner of several distinguished French flautists, including Marcel Moyse and Jean-Pierre Rampal. Laskine also served as professor of harp at the Conservatoire de Paris from 1948 to 1958. She was awarded the Legion of Honour in 1958. She died in Paris.

Bruckner's Third - a creative history that is unique even for the great Austrian romantic. No other of his symphonies has been revised, reshaped and reissued more often. Yet the first version from 1873, which François-Xavier Roth has chosen for this recording, bristles with boldness and the joy of experimentation. Here, the reminiscence of Beethoven's Ninth and the works of the dedicatee Richard Wagner is almost tangible.

The early musical experiences of Puccini and Verdi, those two giants of Italian opera, were in fact gained in the field of sacred music. In 1880, at the age of 22, Puccini composed his Messa a 4 voci as a graduation exercise. When still a schoolboy, the 45-year older Verdi stood in for the organist in his home village; at the end of this life, he returned to church music, writing his Quattro pezzi sacri in the 1890s at the age of over 80. The Messa of the younger composer – which was believed lost until 1952 – is a joyful and scintillating work. Artistically, Verdi’s powerful and intense Pezzi sacri can be placed on an equal standing with his beloved operas.

Soprano Diana Damrau, dazzling in the operas of Mozart, Donizetti, Verdi and Richard Strauss, also has operetta in her blood. With this album she tours three capital cities of operetta – Vienna, Berlin and Paris – and covers nearly seven decades of musical history. En route she relishes the romance, wit and melodies of numbers by such composers Johann Strauss II, Franz Lehár, Emmerich Kálmán, Robert Stolz, Paul Abraham, André Messager, Henri Christiné, Oscar Straus and Francis Lopez. Her star guest is tenor Jonas Kaufmann and conducting the Münchner Rundfunkorchester is Ernst Theis, as expert in operetta as he is in symphonic repertoire. “For me, operetta is the most all-embracing genre of music theatre,” says Damrau, “Its indulgence, its yearning, its joyousness and its comedy all touch the heart and show the positive side of life … It rarely fails to work its magic on audiences.”