Biber, Rosenmüller & Froberger: Passion

It’s a seventeenth-century Passion rich in image, gesture and affect. The violin of Biber as story-teller, the voice illuminating the Lamentations of the Prophet Jeremiah while the keyboard intervenes and reflects.

Find it there!

Progress, March 2017

Classica, March 2017

Classica PDF

Scarlatti, Soler. Hitasura, 2016

“I felt like happy music, I felt like Scarlatti. The world news is so dark… I wanted luminous music. Today, the revolts and exuberance of Scarlatti touch us. His sense of tragic joy is good for us.”

This new publication brings together three discs with a choice of 35 sonatas, which also includes the famous Fandango by Padre Soler.

https://soundcloud.com/user-716574130/d-scarlatti-sonata-k-115-frederick-haas-harpsichord-hitasura-productions-hsp-002

http://hitasura-productions.com/shop/

Bach concertos with Ausonia. Hitasura, 2016

Bach’s harpsichord and violin concertos occupy a unique place amongst the most miraculous pearls of the Baroque repertoire. Vitality, lyricism, complexity and freshness, intensity and lightness, eloquence, captivating textures and colours… it’s all there. An unfailing pleasure to be shared by performers and audience alike.

http://hitasura-productions.com/shop/

Musica, February 2017: five stars for Bach concertos

Concertos de Bach – article Musica

Crescendo, November 2016: Joker for Scarlatti

Frédérick Haas à l’assaut de Scarlatti: âmes sensibles s’abstenir! | Crescendo – copie 2

The Record Geijutsu, October 2016: Tokusen for Bach concertos

Record Geijutsu – copie.compressed

Klassieke Zaken, August 2016

Klassieke Zaken août 2016

 

Crisis?

As is all too well known, music is, without doubt, a luxury art form for all the work, skills, investment it entails. A disc, in order to be meaningful, must be beautiful and as perfect as possible, and hence is by its very nature a luxury item.

This luxury, nevertheless, is relative, because what could be more apt than to offer a disc which is as beautiful to look at as it is to hear it, to listen to it as it is to read its interesting insert? Certainly, a disc is a much less expensive item–and is so much more original–than a bag or a scarf, and makes for endlessly large collections; one disc is not like any other, a disc niether replaces nor supplants another! I’m convinced there is still a place for conventional discs today. As an object conveying beauty, it’s fully accessible to those who can appreciate it.

 

But if music is at the centre, and is the focus of a very large portion of our efforts, the disc as an object only makes sense if it really goes hand in hand with the music in the same way that the work of a great bookbinder goes hand in hand with the presentation of an important text. So, therefore, we believe that it is the artists themselves who need to reinvest into the making of objects that are beautiful, interesting, enjoyable and fascinating perhaps, by partnering their talents with those of their designer friends, photographers, artists, writers. And so we can see the disc as a meeting place of many forms of art, which makes sense for an era when the interest in multicultural and multidisciplinary encounters–when they are fruitful–has been more than amply demonstrated.