Record Labels Archives: Harmonia Mundi

Andreas Staier’s Schumann: Old Instrument, New Perspectives

Like its predecessors, Andreas Staier’s third Schumann release for Harmonia Mundi features a colorful 1837 Erard model. The pian...

Filling In The Gaps: Haydn–Cantatas for the House of Esterházy

Composed around 1763-64, these gala cantatas were written for the sole purpose of glorifying Prince Nicholas Esterházy, and two o...

Paul Lewis’ Mussorgsky and Schumann: Serious Mastery

Paul Lewis’ recording of Mussorgsky’s Pictures at an Exhibition has many outstanding characteristics. He takes the opening Pro...

Reference Recording: Herreweghe’s Sensual Monteverdi Vespers

Return with me, if you will, to the exciting days of 1987. A new generation of artists trained in p...

CD From Hell: Tasteless, Crude Vivaldi and Rebel

Wow, this is both tasteless and trashy. It never ceases to amaze me how period-instrument groups su...

A Curious Christmas From Clare College

This is a strange program. It's interesting, for sure, and very well sung by one of the world's finest English choirs (ah, those s...

Couperin’s Ethereal Apothéoses

Sometime in the 1980s an ensemble called Fretwork released a recording that captured the sound and style of viol consort music as ...

Almost Ideal CPE Bach Concertos

C.P.E. Bach's Six Concertos Wq 43 constitute some of the most ear-catching and formally entrancing works of their period (1772). F...

Emanuel Bach’s Marvelous Mag

"Magnificent". Far from just a convenient, catchy word to identify a setting of the Magnificat, in this case it perfectly describe...

Gaffigan’s Second Rate Dvorák

James Gaffigan leads a performance of Dvorák's Sixth Symphony that is careful, musical, but virtually devoid of character. Its di...