The nmz-critic Michael Kube justified his choice of audite as the label with the best repertoire policy:
"audite gelingt immer wieder die erfolgreiche Hebung und vorbildliche Aufbereitung wertvoller Archivschätze. Challenge: Auch abseits von Bach hat sich das Label im Bereich der Barock-Musik vorzüglich positioniert."

​Besides news from the current music scene (premieres of contemporary music, jazz, pop) and reports on music education, the nmz presents reviews, reports and commentaries on new releases, cultural policy, music industry, staff appointments and general news from the German world of music. The nmz is considered an important voice of the German music scene. As an independent publication the neue musikzeitung (nmz) is issued ten times a year and has a print run of 23.000 copies per issue.

We are very happy about this award from the noted music journal and the recognition of its knowledgeable critics!

​Ferenc Fricsay war ein Kompositionsschüler von Kodály, Bartók und Dohnányi an der Franz-Liszt-Musikakademie in Budapest und sammelte seine ersten Dirigenten-Erfahrungen als Militärkapellmeister. Nach einer langen Lehrzeit in der ungarischen Provinz folgte 1947 der Durchbruch: Als Einspringer für Otto Klemperer bei den Salzburger Festspielen startete Ferenc Fricsay seine internationale Karriere, die ihn sofort nach Berlin führte. Hier leistete er als Chefdirigent des neu gegründeten RIAS-Symphonie-Orchesters Berlin, das 1956 in Radio-Symphonie-Orchester Berlin umbenannt wurde, bahnbrechende künstlerische Arbeit. Im Mittelpunkt der Sendung stehen erstmals auf CD veröffentlichte Aufnahmen mit diesem Orchester aus dem RIAS-Archiv. Sie porträtieren den vor 50 Jahren verstorbenen Ferenc Fricsay als einen der großen, Stilbildenden Dirigenten des 20. Jahrhunderts.

​After a Supersonic from Pizzicato and the nomination for the International Classical Music Awards (ICMA) the production receives yet another important prize.

The quarterly and annual awards of the German Record Critics' Award are sought-after prices in the German music scene. The winners of the quarterly awards are included in the Quarterly Critics' Choice ("Bestenliste") of the German Record Critics' Award. The lists recommend new releases which merit special attention for the quality of interpretation and for their value to the repertoire. These lists provide a candid picture of new releases which, in the jury's opinion, are of outstanding importance when judged on purely artistic and audiophile grounds.

We are very happy about this distinguished award!

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Die hier vorgelegte Gesamtausgabe der Kammermusikwerke für Klarinette von Johannes Brahms wird getragen von den erstrangigen Interpreten: Laura Ruiz Ferreres gilt als eine der talentiertesten Klarinettistinnen ihrer Generation, ebenso der Pianist Christoph Berner. Die Streicherbesetzung mit dem international erfolgreichen Cellisten Danjulo Ishizaka und dem Mandelring Quartett komplettiert die hochwertige Künstlerauswahl dieser Aufnahme.

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Read the complete review:

Herald Scotland | Michael Tumelty | 9 March 2013

My goodness, here is something special. Volume 1 in a new recording of Beethoven's complete string quartets is a stunner. The group, the Quartetto di Cremona, was established in 2000 and has been around a bit, though they are new to me. Here they play the sixth of the opus 18 set, the blistering opus 95 (the Quartetto Serioso, so-named by Beethoven) and the final quartet, the opus 135. The sheer power, energy and attack from the group, on my first hearing of the disc, totally took my breath away. They have a big, bright, full-on approach, which, in the rebarbative opus 95, is completely shocking. The group sound reminds me in some ways of that of the great Quartetto Italiano, and it is no surprise that the Cremona Quartet was directly influenced by Piero Farulli, the viola player in that legendary group. This is a major series on the German Audite label, without question. Seek it out.

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The International Classical Music Awards are the only independent international awards for classical music in the world. The jury consists exclusively out of professional critics for classical music from international media. This guarantees the high level and the independency of the ICMA. Both make the ICMA the most important international music award. Thus we feel particularly honored to receive these awards!

The ICMA Jury comprising 17 leading media from 13 countries selected 15 CD and DVD productions among a total of 275 nominations. The winning releases, far from being commercial mainstream, are a selection made without any national motive and therefore provide reliable guidance to the global audience. The ICMA also include six Special Awards paying respect to exceptional musicians and producers. "All these Awards are the expression of our jury's aim of making the difference between good and exceptional," said Remy Franck, President of the Jury.

On March 18th the winners received the ICMA Trophies during a festive award ceremony in the Auditorium Milano in Milan/Italy. Ludger Böckenhoff and Sabine Wiedemann accepted the award "Label of the Year" for audite. The statement of the jury accompanying this Special Award:

"For the past forty years Audite has been presenting new and historic recordings to discriminating music-lovers. Even in these difficult times the label has never compromised on quality and continues to issue long forgotten recordings in fine sound, as well as giving a chance to talented performers of today to explore a broad range of repertoire."

For Polychoral splendour (winner category Baroque/vocal) Johannes Strobl, Gebhard David and Frithjof Smith took part in the ceremony. The statement of the jury for this award:

"A marvelous recording reflecting the highly colorful, rich and vital spirituality of Venice in the 17th century. The title 'Polychoral Splendour' could not be better chosen for the committed performances by Cappella Murensis and Les Cornets. The surround sound recording is impressive indeed."

The ceremony was followed by a top-class Gala Concert with the participation of the ICMA winners, among them audite artists Les Cornets Noirs (Polychoral Splendour) and clarinetist Laura Ruiz Ferreres (Brahms: The Complete Chamber Music for Clarinet). Together with Orchestra LaVerdi conducted by its Principal Conductor John Axelrod she enchanted the audience with a convincing performance of Aaron Copland's Concerto for Clarinet. Through the European Broadcasting Union (EBU) the concert is available to radio stations all over the world.

The ICMA jury consists of professional music critics of important magazines, online services and radio stations: Andante (Turkey), Classic Radio (Finland), Crescendo (Belgium), Fono Forum (Germany), Gramofon (Hungary), IMZ (Austria), Kultura (Russia) MDR-Figaro (Germany), Musica (Italy), Musik & Theater (Switzerland), Orpheus Radio (Russia), Opera (UK), Pizzicato (Luxembourg), Radio 100,7 (Luxembourg), Resmusica.com (France), Rondo Classic (Finland), and Scherzo (Spain).
You can find a complete winners'list and more information here.

Front picture from left to right: Sabine Wiedemann (audite), Ludger Böckenhoff (audite), Rémy Franck (ICMA, pizzicato), Photo credits: Martin Hoffmeister (ICMA)
all other pictures: pfoto credits Björn Woll (ICMA)
ICMA Jurors & Winners
Members of Les Cornets Noirs: Frithjof Smith, Gebhard David, Johannes Strobl
Laura Ruiz Ferreres

​Trio Testore, as part of its recording of the complete Brahms Piano Trios, presents both versions of the Trio in B major, Op. 8: the original version and the revised version which was made twenty-five years later and which, to a large extent, amounts to a new composition. Whilst revising his first trio, Brahms also wrote another pair of new, contrasting trios. Together, these works provide an exemplary impression of Brahms' development as a composer.

​With financial support of the Kunststiftung NRW this two artists use the project to connect church music with jazz: They combine the apparent different styles of music in order of making an inspired experience for the recipients and to put the Gregorian Choral of requiem, which serve as basis for this composition, into an extended musical context.   
Because of the improvisation which is typical for the church music as well as for jazz, Hansjörg Fink and Elmar Lehnen are able to create an eminent symbiosis of this two styles.

Here you can find more information: