Artaria looks back on a long and successful collaboration with the record label Naxos.

Nearly 100 recordings have been released featuring 380 works.

Together we have created a combination of high-quality sheet music and recordings for an exquisite catalogue of lesser-known works from the classical period.

We’re celebrating this creative partnership with a special discount when you buy sheet music from Artaria Editions.

[Add discount here]

Discover this rich catalogue of beautiful recordings and sheet music today. 

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Here is a small selection of the recordings that have been created as part of our partnership. See a full list of all recordings. 

 

BEETHOVEN, L. van: Grand Symphonies Vol. 1 -Symphonies Nos. 1 and 3 (arr. J.N. Hummel for flute and piano trio) (Grodd, Gould Piano Trio)

After the critical and financial success of his arrangements of Mozart’s Six Grand Symphonies for Flute, Violin, Violoncello and Piano, Johann Nepomuk Hummel turned his attention to the symphonies of his great contemporary, Beethoven. Writing for the same forces, Hummel skilfully translates the power and complexity of Beethoven’s originals into a chamber idiom of dazzling virtuosity. 

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SAINT-GEORGES, J.B.C. de: 6 Concertante Quartets (Arabella String Quartet)

Saint-Georges appreciated the intimate nature of the string quartet genre, avoiding overt soloistic virtuosity and exploring chamber music timbres, amply demonstrating his rich lyrical gifts and a natural ability to delight performers and audiences alike.

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DEVIENNE, F.: Flute Concertos, Vol. 3 - Nos. 9-12 (P. Gallois, Swedish Chamber Orchestra)

These recordings demonstrate the hallmark combination of melodic elegance and graceful virtuosity that characterise Devienne’s flute concertos, which are among the most attractive of their time.

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HOFMANN, L.: Flute Concertos, Vol. 3 (Grodd, Czech Chamber Philharmonic, Pardubice, F. Dvořák, Halász)

Hofmann’s radiant flute concertos follow the conventions of the day with superlative elegance and a deceptive facility. The solo writing has a lightness, grace and agility perfectly suited to the instrument’s strengths, particularly in the lovely and often rhapsodic slow movements.

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SAINT-GEORGES, J.B.C. de: Symphonies Concertantes, Opp. 9,10, Op. 11, No. 1 (Revich, Ježek, Honsová, Czech Chamber Philharmonic, Pardubice, M. Halász)

Bologne de Saint-Georges was an early and important exponent of the hybrid symphonie concertante—a genre that draws on both the symphony and concerto traditions. This novel format was the ideal platform for expressive inventiveness by a highly gifted composer. 

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VAŇHAL, J.B.: 3 Neue Caprice-Sonaten, Op. 31 / 3 Caprices, Op. 36 (Tsalka)

Vaňhal was at his most inspirational and improvisational in his keyboard Capriccios composed in the 1780s, which are some of the most creative examples of the Viennese Classical style, not least in their almost symphonic force.

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CIMAROSA, D.: Overtures, Vol. 7 (Czech Chamber Philharmonic, Pardubice, Halász)

Domenico Cimarosa was the most famous and popular Italian opera composer of the second half of the Eighteenth Century. Written towards the end of the ‘Neapolitan School’ era, his operas endured in popularity long after his death thanks to their melodic invention, colourful orchestration and sheer vitality.

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HUMMEL: Missa Solemnis / Te Deum

Hummel’s small but important corpus of sacred works belongs to a period of unparalleled richness in the history of church music. Hummel’s Missa Solemnis in C, written in 1806 to celebrate the marriage of his daughter Princess Leopoldina is a work of surpassing beauty and nobility. His exuberant setting of the Te Deum recalls all the brilliance and verve of Haydn’s great Te Deum of 1799.

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STAMITZ, J.: Symphonies, Vol. 3 - Op. 3, Nos. 1 and 3-6 (Musica Viva Chamber Orchestra, Rudin)

Stamitz' Op. 3 symphonies show why Stamitz was held in such high regard and was so influential: outer movements fizz with energy, and contain virtuosic string writing with frequent dynamic contrasts, while slow movements are intricate and refined.

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KRAUS: Ballet Music

This recording couples Kraus’s two earliest surviving ballets (Pantomimes) and impromptu insertions for Gluck’s opera Armide for a production at the Stockholm Opera in 1787, with his most important work in this genre, Fiskarena. This fast-paced ballet is notable for its dramatic and forward-looking stylistic devices as well as frequent allusions to foreign dances, from England to Hungary.