Mozart, W A - Three Salzburg Symphonies Nos. 21, 27 & 34 - Huss, Manfred
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Haydn Sinfonietta Wien / Manfred Huss
The Haydn Sinfonietta Wien, founded by Manfred Huss, is one of the fore most interpreters of music from the Viennese Classical and late baroque periods and of works from the early nineteenth century. The en semble has per formed on period instru ments since 1991. Its leader is Simon Standage, the English doyen of historic violin playing, other instrumentalists such as Vin cent van Balle gooijen (first oboe) are numbered among its regular performers. The Haydn Sin fonietta Wien scored its first major international success at the Casals Fes tival in Prades (with Mozart’s Requiem), and since then has under taken numer ous European concert tours, per - forming for instance in Avignon, Bologna, Bre men, Bruges, Brussels, Budapest, London (Wigmore Hall), Milan, Paris (Châtelet), Rome, Se ville, Utrecht and Zurich. Soloists have includ ed Ronald Brautigam, Christophe Coin, Lynne Dawson, Christoph Genz, Paul Goodwin, Wolfgang Holzmair, Friedemann Immer, Gary Karr, Alexei Lubimov, Christa Ludwig and Miah Persson, and the ensemble has col laborated with the Tallis Choir and Kodály Chor Debrecen (under Kálmán Strausz). Its reper toire ranges from large-scale chamber music by way of the sym - pho nic reper toire to operas and oratorios. In the years 1986–94 the Haydn Sin - fonietta Wien was orchestra-in-residence of the Wiener Klassik Fes tival, and from 2006 until 2009 it fulfilled the same function at the Festival Centropalia (Styria/Slovenia). It has also appeared at num er ous other inter na tional festivals including the Beethovenfest Bonn, Prague Autumn Fes tival and Flanders Festival. Its first recording was made as early as 1985, and since then the orchestra has made several dozen CDs, since 2007 exclusively for BIS Records. These recordings have been highly praised in the international music press, for in stance the set of Haydn’s music for Prince Esterházy and the King of Naples [BIS-1796/98]: ‘as close to ideal as we’re likely to get in an imperfect world. This is a set destined to make us fall in love with Haydn all over again’ (Early Music Review).