​Please read the full length review here.

Between the concerts you can enjoy cake and barbercue in deck chairs at the riverbank of the Spree.

The concert dates:
Fri, 11.07.2014, 20:00 PM
Sat, 12.07.2014, 16:30 PM  
Sat, 12.07.2014, 19:30 PM       
Sun, 13.07.2014, 14:30 PM      
Sun, 13.07.2014, 17:30 PM

Works by Haydn, Mozart, Mendelssohn, Bartók, Hindemith, Ligeti

The current Mandelring SACD: Felix Mendelssohn - Complete Chamber Music for Strings Vol. IV
More SACD realeases at www.audite.de.

(photo Radialsystem(C)Sebastian Bolesch)

​Details to the productions:

aud. 23.415 (2CDs) Edition Herbert von Karajan Vol. I - G. Verdi: Requiem

Karajan's first recording of the Verdi Requiem was made at a time when he was laboriously rebuilding his career. It harbours not only echoes of the war but the uncertainties of the post-war period. Nevertheless the expressive power and spontaneity of the performance reveal a conductor who commands his audience no less than his orchestra.
This live recording was made in 1949 at the Salzburg Festival with outstanding singers of the time: Hilde Zadek, a very young recently hired by the Vienna State Opera; Margarete Klose, a singer equally admired by Furtwängler; Helge Rosvaenge, the busiest tenor of the period; and the great Boris Christoff.

aud. 95.602 (CD) Edition Herbert von Karajan Vol. II - W. A. Mozart: Piano Concerto No. 20 & Symphony No. 41 'Jupiter Symphony'

The present studio production was recorded on the occasion of the Mozart anniversary in 1956 when the orchestra gave three concerts from January 21st to 23rd. It shows Karajan as a Mozart interpreter of great stature and striking originality. Karajan discovered in Mozart's scores not only a great wealth of orchestral timbres but the musical structure within these colors. His presentation is absolutely faithful to the text and subtle in its phrasing. Together with the Berlin Philharmonic Karajan sculpts the forms with utmost sensitivity to the sound. Shunning rhetoric and virtuosity, Karajan's Mozart has a magic all its own that never once becomes mawkish or sentimental. The pianist in the D-minor Concerto, Wilhelm Kempff, is an equally superb artist of intimately gradated color.
Herbert von Karajan was not the least problematic of Mozart conductors. His late recordings in particular sound as if he wanted to transfer the late-romantic sound of Wagner, Bruckner, and Strauss to Mozart's refined classicism. However, the performance presented here with its stylistic balance between surging sound and attentive instrumental dialogue, has even today a claim on more than just historical interest.

aud. 23.414 (2CDs) Edition Herbert von Karajan Vol. III - L. v. Beethoven: Symphony No. 3 ('Eroica') & No. 9

These recordings of two Beethoven symphonies date from a period of change in the history of the Berlin Philharmonic. Furtwängler was again its official principal conductor, but his declining health and other personal reasons left him unable to supervise the orchestra on a continuous basis. Ever since his first encounter with the Berlin Philharmonic Herbert von Karajan wanted nothing more than to be its principal conductor. These recordings shed light on his early work with the orchestra as a visiting conductor and as the successor to Wilhelm Furtwängler.

Karajan's first post-war concert with the orchestra, featuring Beethoven's Eroica, on 8 September 1953 reveals not only the actual condition of the orchestra but also what Karajan was able to accomplish as a conductor in this situation. At the time Karajan was mainly busy with the London Philharmonia Orchestra and raved about its virtuosity. Yet, in the Berlin Philharmonic, he discovered dimensions that transcended virtuosity, powers of expression that went beyond rehearsal levels in the moment of performance.

At the time of the live-recording of Beethoven's Ninth, performed in the auditorium of the Berlin Musikhochschule on 25 April 1957 to celebrate the orchestra's seventy-fifth anniversary, Karajan was already the orchestra's principal conductor. The orchestra was in a phase of tedious remodeling caused by Karajan's attempts to shape the sound of the orchestra according to his musical philosophy. Beethoven's Ninth, with a sterling quartet of vocal soloists, has a large-scale command of form and a dense, coherent sound that reveal Karajan well on his way to the first complete recording of the symphonies.

We are looking forward to your order!

​This cross-section of North American piano music from 1850 to 1980 with compositions by Gottschalk, Gershwin, Barber, Rzewski uand Glass immerses the listener in a fascinating musical cosmos that is especially notable for its stylistic variety. In its search for an identity, this variety has been characteristic of American music from its beginnings - a unique situation resulting in permanent cultural exchange.

Release date (Germany) of the production is August 8th 2014.

Ferenc Karl Fricsay was born on August 9th 1914 in Budapest, Austria-Hungary. Being a conductor of Austrian decent he mainly worked in Hungary, Austria and Germany. Fricsay played a central role in the reconstruction of musical life in post-war Germany, especially in Berlin.

Fricsay's orchestral work was characterised by a clear orchestral sound, the greatest possible musical energy and ceaseless formation of the music. His post-war career in Berlin began in 1948 with debuts at the Berlin Municipal Opera, the Radio Symphony Orchestra Berlin as well as with the Berlin Philharmonic and the RIAS Symphony Orchestra. Following his successful performances, Fricsay was appointed General Music Director of the Municipal Opera of Berlin in late 1948 taking effect in September 1949, and Principal Conductor of the RIAS Symphony Orchestra (later the Radio Symphony Orchestra Berlin; since 1993 Deutsches Symphonie-Orchester Berlin). From 1949 until 1954 Fricsay led the RIAS Symphony Orchestra, making his stamp on its performing culture, laying the cornerstone for open, contemporarily orientated programme planning and leading the orchestra to international reputation.

Ferenc Fricsay's work with the RIAS-Symphonie-Orchester is documented in numerous prize winning audite productions. This series, consisting of 14 parts so far, presents archive recordings from the RIAS and the WDR from the early 1950s. Amongst these are the 3-CD box with the complete recordings of works of Bartók by Fricsay contained in the RIAS archive from the years 1951-1953, honoured with an International Classical Music Award (ICMA). With the exception of Dietrich Fischer-Dieskau, Fricsay's soloists are exclusively Hungarians, which signifies a special gain as regards musical authenticity.

Until September 9th we offer selected recordings at a special anniversary price:

The complete anniversary bundle includes 14 productions with 21 single CDs at 129,00 EUR. All titles are also available as single productions at an anniversary rate.

* You can find a complete overview of all Fricsay productions here.
* Order the complete anniversary package (14 productions) here.
* Reviews
* Special Media Files
* Order single titles from the anniversary package here:

95498 P. I. Tchaikovsky: Symphony No. 5 & R. Schumann: Piano Concerto (CD)

95584 J. Haydn: Symphony No. 44 & No. 98 (CD)

95497 G. Bizet: Carmen (CD)   

23406 G. Verdi: Rigoletto (2CD)   

95499 Edition Ferenc Fricsay (IV) - P. I. Tchaikovsky: Piano Concerto No. 2 & F. Liszt: Piano Concerto No. 1 (CD)   

23411 Edition Ferenc Fricsay (V) - J. Strauss: Die Fledermaus (2CD)

95593 Edition Ferenc Fricsay (VI) - L. v. Beethoven: Symphonies No. 7 & No. 8, Leonore Ouverture No. 3 (CD)   

95596 Edition Ferenc Fricsay (VII) - W.A. Mozart: Symphony No. 29, No. 39 & No. 40 (CD)

23413 Edition Ferenc Fricsay (VIII) - W.A. Mozart: Die Entführung aus dem Serail (2CD)

23412 Edition Ferenc Fricsay (IX) - G. Donizetti: Lucia di Lammermoor (2CD)

95585 Edition Ferenc Fricsay (X) - J. Brahms: Violin Concerto & Symphony No. 2 (CD)

95587 Edition Ferenc Fricsay (XI) - G. Rossini: Stabat Mater (CD)

95629 Edition Ferenc Fricsay (XII) - J. Strauss: Walzer • Polkas (CD)

21407 Ferenc Fricsay conducts Béla Bartok - The early RIAS recordings (3CD)

We are looking forward to your order!

The Diapason d'Or is a record award for recordings of classical music. It is awarded by the French magazine Diapason every month in multiple categories.

Besides the price of the German Record Critics' Award and the British Gramophone Award the Diapason d'Or is the most significant independent European record award for classical music.

​Edvard Grieg's most popular work in combination with his least known piece: whilst the Piano Concerto in A minor was the 25-year-old composer's breakthrough to international fame, he had decided to withdraw his symphony, written only a few years previously. Yet every page of the score - despite overt influences of Schumann, Gade and Mendelssohn - convinces, thanks to Grieg's youthful inspiration and superb invention.

​Monthly the English journal Gramophone chooses the twelve best releases as Gramophone Choice, which are the basis for the election for the Gramophone Awards.
The Gramophone Awards apply as the most important prizes in the szene of classical music and are often compared with "Oscars of classical music".

​In November audite releases the début album of the PianoDuo Takahashi|Lehmann with original transcriptions for piano duo. It marks the beginning of the cooperation between the brilliant duo and audite.  For a preview watch the video with impressions and interviews from the recording session.

The current release and the following album, scheduled for release in spring 2015, explore the multifaceted cosmos of transcriptions for piano duet. In Part I, the musicians focus on three orchestral and ensemble masterpieces, arranged for piano duet by their own composers: Beethoven's Great Fugue, Schumann's Second Symphony and Schoenberg's First Chamber Symphony. The virtuoso pianists combine their passionate expressivity with an intellectual programmatic conception. Their equally intelligent and touching playing makes even seemingly abstract works accessible to the listener.

Release date of the production is November 21st 2014.

​Please read the full length review here:

Ludwig van Beethoven: Complete String Quartets. Vol. III.; Quartett c-Moll op. 18/4, Große Fuge op. 133, Quartett f-Dur op. 59/1; Quartetto di Cremona; 1 SACD Audite 92682; 6/13 (78'39) - Review by Guy Engels (October 20th 2014)

Zunächst ist man sprachlos, aufgewühlt, wenn die letzten Töne dieser Einspielung verklungen sind. Erst allmählich wird man sich dann bewusst, welchen Strudel an Emotionen man einmal mehr mit dem 'Quartetto di Cremona' durchlebt hat - insbesondere in der großen Fuge op. 133, die wir bislang noch nie in einer derart berauschenden, zum Teil erschütternden Interpretation gehört haben. Hier wird Beethovens Modernität, sein Sprengen aller musikalischer Grenzen, wahrhaft Klang. Die vier italienischen Musiker eröffnen ganz neue Hörweisen, präsentieren einen uns eigentlich bis dato unbekannten Beethoven. Auch sie gehen in ihren Ausdrucksmöglichkeiten an die Grenzen, bleiben nach wie vor kompromisslos in ihrer messerscharfen Deutung - sowohl in dem frühen Werk aus Opus 18, als auch im Rasumowsky-Quartett und erst recht in einem der Höhepunkte kammermusikalischen Schaffens: der Großen Fuge.

The Quartetto di Cremona digs deep into Beethoven's music, thus revealing a whirl of emotions like we never experienced in this music.