Daniel Haas formerly playing bass for Ange teams up with Yves Hasselmann (from Traveling) to offer us a great album. On this album Hasselmann's keyboards create an impressionistic and suggestive music, with an atmosphere in turn serene, nostalgic and dreamlike which is sometimes evocative of Catharsis or Fuhrs and Frohling.
Award-winning duo Alasdair Fraser & Natalie Haas once again unleash their dazzling teamwork, driving, dancing rhythms, and shared passion for taking the infectious melodies and grooves of Scottish/Celtic music on an exciting new journey.
This premiere recording by the Pavel Haas Quartet has quite a bit going for it. For starters, the programming is intelligent – something that's always appreciated. Here are two string quartets written by teacher (Janácek) and student (Haas); in fact, both works were given their premiere by the same ensemble (the Moravian Quartet). The liner notes do a nice job of pointing out these and other connections as well as describing the programmatic content of the two works. The ensemble is filled with youthful energy and passion, which is reflected in the music.
Second in popularity only to the Ninth Symphony "From the New World," Dvorák's Twelfth String Quartet – which was dubbed the "American" Quartet by the public and media rather than the composer himself – is a work nearly synonymous with the composer's tenure in the United States. These were not the only two works inspired by his cross-sea voyage, however. The Thirteenth String Quartet in G major, Op. 106, though not imbued with the same folkloric characteristics, also came about following the composer's return from the States. The popularity of the "American" Quartet has resulted in a work that is arguably overplayed, making it difficult for new ensembles to find anything new or unique to say about it.
It may be rash to claim that the French pianist Monique Haas (1909-1987) never made a bad recording, but you won't find one among her complete DG sessions. Dating from the late 1940s up to 1965, the recordings have been transferred from scratch, and they sound remarkably well for their respective vintages. The repertoire is diverse and unhackneyed, ranging from Mozart piano duets (with Heinz Schröter) and K. 449 and K. 488 concertos, rare Haydn gems (the E-flat Arietta with Variations and the Fantasia in C major), and the Stravinsky Capriccio, to Hindemith's Concert Music for piano, brass and harps (with the composer conducting), and a substantial sonata by Marcel Mihalovici (the pianist's husband) featuring violinist Max Rostal.
Black-Forest-born Arno Haas released his debut album Magic Hands in 2013 receiving high accolades by critics. His sophomore album Back To You is scheduled for release on October 22, 2015 on Mochermusic. The album starts full throttle with the title song Back To You. Perfectly arranged by Tom Saviano supports the brass group saxophonist Arno Haas. A treat for fans of cultivated jazz music with the emphasis on horns.
The highly anticipated new recording from the Gramophone Recording of the Year winners in 2011. Two years on from their award winning Dvorak album, the Pavel Haas Quartet turn their attention to Schubert’s two late masterpiece. The String Quartet in D minor has a sort of dark cipher encoded within. The title “Death and the Maiden” reflects the quotation from Schubert’s eponymous song in the second movement. The theme of death is also underlined by other quotations and the choice of the key of D minor, which according to the period definition is characterised by “heavy-hearted womanliness, spleen and foreboding”.
French pianist Monique Haas recorded the piano works of Debussy and Ravel twice, once in the late '50s and early '60s for Deutsche Grammophon and again in the late '60s and early '70s for Erato. The later recordings are released here in this six disc set from Warner Classics. As on the earlier set, Haas' performances are elegantly stylish, technically impeccable, consummately musical, and quintessentially French. Pick any piece by either composer at random, and you'll see. Try her bright but sensual Suite Bergamasque with its ravishing Clair de lune or her brilliant and visionary Études with their astounding concluding Pour les accords. Or try her recklessly virtuosic Gaspard de la nuit with its frightening Scarbo or her sweetly swaying Valses nobles et sentimentales with its heartrending Épilogue. There are only two meaningful differences between Haas' recordings: in the earlier performance, she is more passionate and impetuous while in the later performances she is more measured and thoughtful.