Georg Christoph Wagenseil
(1715-1777)

Five Symphonies

"Lively, sharp-edged performances, a recommendation disc."
(The Telegraph 6/99)

"Beautifully played."
(BBC Music Magazine 7/99)

"Excellent band, excellent sound."
(Fanfare 12/99)

Benenedict Anton Aufschnaiter
(1665-1742)

Serenades from Concors discordia op. 2
Nuremberg 1695

"The Aufschnaiter works are rendered in an historically aware and exciting manner that weds meticolous scholarship and perspicacious musicianship. Sonics are clear, bright and lively, with nice presence"
(American Record Guide, July/August 1998)

"... L'interpretation de L'Orfeo Barockorchester est d'un grand raffinement ..."
(Diapason de musique 7/98)

"The playing of concert master Gaigg and her colleagues is fine, with light sprung rhythms and clean ensemble."
(Fanfare, July/August 1998)

Ignaz Holzbauer
(1711-1783)

Five Symphonies

"... the L'Orfeo Baroque Orchestra achieves dazzling heights ..."
(Fono Forum 3/2000)

"... these five symphonies are worth being played more often, especially when they are presented as brillantly as here with Michi Gaigg and the L'Orfeo Baroque Orchestra. Relentless phrasing, fantastic dynamic shades - these are bound to keep the listener spellbound right up to the end of the E-Flat major symphony."
(Klassik heute 4/2000)

"Michi Gaigg brings out all the flavor of these symphonies, with strong, piquant accents. Gaigg's Holzbauer will not disappoint. Warmly recommended."
(Fanfare 5/2000)

Johann Christian Bach
(1735-1782)

Salve Regina
Emma Kirkby, Soprano
Markus Schäfer, Tenor

"At the age of 20 J.C. Bach converted to Catholicism in Milano, a cardinal sin for his Protestant home. A result of this conversion is the charming "Salve Regina", recorded here for the first time by the L'Orfeo Baroque Orchestra and Emma Kirkby. Had his relations known this CD they would have gladly forgiven this lost son."
(Falter 20/2001)

"... currently one of the best baroque orchestras ..."
(SWR 2 6/2001)

"... all three works are interpreted with a delicate sound, diffentiated articulation and unassuming virtuosity, aconvincing plea for the Catholic J.C. Bach."
(Klassik heute, 7/2001)


Emma Kirkby
Markus Schäfer

Anton Fils
(1733-1760)

Symphonies

"... The musicians of the L'Orfeo Baroque Orchestra play with style, elegance and love ... The listener of this CD is presented 70 minutes of diversity which he owes as much to the composer's fantasy as to the understanding of the interpreters ..."
(Klassik heute, 7/2002)

Wolfgang Amadeus Mozart
(1756-1791)

The Concert Arias for Tenor
Christoph Prégardien

"... The bright timbre, the flow of his (Christoph Prégardien's) legato is truely admirable; the colourfulness and truthfulness of musical gestures are insurpassable ... contributing greatly to this is the accompanying violinist Michi Gaigg with her L'Orfeo Baroque Orchestra ... transparent and passionate Mozart playing."
(Frankfurter Allgemeine Zeitung, 1/2003)

"The lyrical tenor Christoph Pregardien sets dramatically to work with the text. The L'Orfeo Baroque Orchestra finely adds the rather dry, but warm gut string sound."
(radiomagazin 2/2003)

"Interpretation and sound merit the highest possible rating."
(Fono Forum, 3/2003)

"Prégardien sings the music with his accustomed commitment and sense of style. There is elegance and warmth in his phrasing. L'Orfeo Baroque Orchestra is a keen, perceptive ensemble that provides excellent accompaniments. The recorded quality is high and there are detailed notes, texts and translations."
(International Record Review 4/2003)

"A superb recording of Mozart arias."
(Salzburger Nachrichten 4/2003)

"The achievement deserves the highest praise: this has turned out a very convincing interpretation."
(Toccata 07/ Sept-Oct 2003)


Christoph Prégardien

Leopold Mozart
(1719-1787)

Symphonies

"Those with prejudiced opinions about the ambitious, arrogant and patronising father of his son will soon change their minds once they hear this CD. The L'Orfeo Baroque Orchestra presents the listener with an hour of the most pleasurable musical pastime, with fine phrasing and temperamented virtuosity, with an original sense of the comic and without shying away from the burlesque ..."
(Klassik heute 2/2004 - with the highest rating of 10 marks in all categories: artistic quality, sound quality, general impression)

"One must credit Gaigg and the Orchestra with spectacular playing. The CPO recording is first class and the notes are excellent. The sound is superior."
(American Record Guide 6/2004)

Georg Philipp Telemann
(1681-1767)

Complete Violin Concertos Vol. 1
Elizabeth Wallfisch


"L'Orfeo Baroque Orchestra provides Wallfisch with sympathetic support throughout a disc which augurs well for the remainder of the series. The recorded sound is ideal."
(International Rrecord Review 9/2004)

"These series will be another precious gem in the cpo crown"
(klassik.com 9/2004)

"Elizabeth Wallfisch and her colleagues have a knack to catch the charm and warmth in Telemann's music. His eloquence in the different styles of his time is conveyed with incredibly fine nuances... The L'Orfeo Baroque Orchestra accompanies the high spirited soloist with infallible reliability. Wallfisch shows her stand in arpeggios, scales, semiquaver triplets and polyphonic playing.- What a colourful microcosm is presented here to the listener during the first 10 minutes already!... The following volumes in this project are expected in great anticipation, while enjoying this excellent release in the meantime."
(Concerto - Das Magazin für Alte Musik October/November 2004)

Josef Myslivecek
(1737-1781)

Symphonies & Overtures

"The "atmosphere" on stage is anticipated. The L'Orfeo Baroque Orchestra conveys this with pugnacious sounds but also with images of subtle affects. A tip to start this disc: the festive sounds of the Overture to L'Olimpiade."
(klassik heute 11/2004)

"The great L'Orfeo Baroque Orchestra offers its irresistable contribution to the resurrection of Mozart's contemporary Josef Myslivecek from the dark vaults of oblivion with this recording of the Symphonies and Overtures by the Bohemian composer. The sound and cunning compositional concept of these works are lively presented and turn out to be addictive musical chocololates."
(WDR 3 12/2004)

"...it remains to be said that the L'Orfeo Baroque Orchestra with its familiar powerful and impulsive playing manages to return to these works the long lost fire, energy and life."
(Diverdi (Madrid) 1/2005)

"[The Symphonies] are played by L'Orfeo Barockorchester with a sense of uplifting incisiveness; try the powerful and buoyant horns in the finale of No. 3 in F major, full of strong accents and alive. [...] To round off this sensitive and invaluable disc, played with care and imagination by this original instrument group we have some helpful notes and a crisp acoustic not too chill, not too reverberant."
(www.musicweb-international.com 1/2005)

"If late 18th-century orchestral music is your thing, make sure that you don't miss this."
(Early Music Review 2/2005)

"... this similarity is mindboggling! Every musical amateur would notice it: the music on this double CD breathes Mozart's soul. Although the opposite applies: Josef Myslivecek was 18 years old when W.A. Mozart was born ... the L'Orfeo Baroque Orchestra with its usual zest and virtuosity ... another acoustic gem by this highly acclaimed orchestra ..."
(Oberösterreichische Nachrichten 3 February 2005)

"... Michi Gaigg and her orchestra present an interpretation which is fresh, eloquent, vivid and contrasting ..."
(Salzburger Nachrichten 19 March 2005)

"... un album savoureux, qui nous met l'eau a la bouche ..."
(Diapason (Paris) 04/2005 - 5 tuning forks)

"These performances are really first class. CPO has supplied good bright sound and thorough notes."
(American Record Guide 6/2005)

"The leader Michi Gaigg managed to identify with the very personal style of the composer. She understands the art of highlighting the dramatist Myslivecek with a thrilling performance and at the same time revelling in his lyricism ... this is a musical tour de force."
(Concerto - Das Magazin für Alte Musik June/July 2005)

Internationale Barocktage Stift Melk 2004
CD-LIVE

Works by Handel, Aufschnaiter and Muffat
Nuria Rial, Soprano

Internationale Barocktage Stift Melk 2006
SACD-LIVE

BONUS TRACK
W.A. Mozart "Exultate, jubilate" K. 165
Nuria Rial, Soprano

Ludwig van Beethoven
(1770-1827)

"Mödlinger Tänze" - Country Dances - German Dances - Minuets


"Beethoven's dances convey something very personal with it's lilting character. No wonder we encounter some of these again in his "great" works! The L'Orfeo Baroque Orchestra, on original instruments, and Michi Gaigg bring back the irresistable charm to these works. A true discovery!"
(cpo 5/2006)

"Inspired by Michi Gaigg the ensemble energetically presents these joyful bagatelles with humour and a fair portion of accents highlighting the small Beethoven obstinacies."
(klassik heute 6/2006)

"Especially the "Mödlinger Tänze" are a perfect example of the development and status of dance music during this era. Here we find quick waltzes and, in comparison, "well-behaved" menuets, which Beethoven obviously didn't regard as useless traditional material. Each dance has its own charm, its own drive. In Michi Gaigg's unobtrusive and playful interpretation the movement seems to always come directly from the musical impulse itself."
(DrehPunktKultur 7/2006)

"Michi Gaigg and her L'Orfeo Baroque Orchestra's interpretation of dances by the young Beethoven is cunning, cheeky, funny, alert and a trifle audacious. It queries the pomp of this genre of "light" music with kind irony in the same way the composer from Bonn must have done."
(Falter 8/2006)

"Michi Gaigg leads her ensemble into relaxed, unstrained playing. The historical instruments guarantee impeccable transparency. The movement is brisk, not rushed. The tempi are carefully chosen. The continuity of phrases is maintained in spite of sforzati, the Haydn-like courtesy is conserved even though dissonances are enjoyed to the full. This is high art. Hilarious also some sturdy entries by the comical bassoon."
(klassik.com 11/2006)

" ... The alternative: 40 Dances by Beethoven with the L'Orfeo Baroque Orchestra. It's conductor Michi Gaigg is committed to historical sound and it's vitality. Convincing."
(Karl Löbl, "Österreich" 12/2006)

"Raving write-ups follow L'Orfeo's concerts and CD recordings under the violinist and conductor Michi Gaigg. Her interpretation of Beethoven's "Mödlinger Tänze" combines voluptious sound, brilliant playing and lilting movement, a perfect choice for Classical fans."
(Oberösterreichische Nachrichten 12/2006)

Georg Philipp Telemann
(1681-1767)

Complete Violin Concertos Vol. 2
Elizabeth Wallfisch


"Elizabeth Wallfisch and the L'Orfeo Baroque Orchestra commit themselves to Telemann with devotion and verve. This CD, in fact the entire project of recording Telemann's complete violin concerto's, can warmly be recommended to all fans of Baroque music."
(klassik heute 01/2007)

"This should be a paradox: on the one hand we have highest technical precision and clarity and on the other hand gentle sonority, deep emotions and a dancelike buoyancy."
(Oberösterreichische Nachrichten 04/2007)

"[Elizabeth Wallfisch] fills Telemann's music with life and breath, supported by the L'Orfeo Baroque Orchestra with brilliance and temperament. Michi Gaigg has yet again taken up the position of concert master, having left the direction to Wallfisch Together with her musicians she sweeps through the fast movements like a storm and performs the slow movements with incomparable expression, now and again in deep contemplation with Wallfisch's violin a breath soaring high."
(Concerto - Das Magazin für Alte Musik August/September 2007)

Johann Caspar Ferdinand Fischer
(1656-1746)

Le Journal du Printemps op. 1
Augsburg 1695


... Here we have 26 period-instrument players, seven of them winds and one also adding discreet percussion (including even castanets). They are a crack band, both in refinement and in stylistic confidence. Given the repetitive suite format ... this is an unfailing source of joy - an a very important contribution to the recorded repertoire."
(American Record Guide 1-2/2008)

... L'ensemble L'Orfeo ne traite pas ŕ la légčre une musique qui pourrait se contenter de codes et de modes de jeu. Sur le plan dynamique, la phalange menée par Michi Gaigg trouve d'ingénieuses solutions pour vivifier une inspiration parfois conventionnelle - ou du moins perçue comme telle dans cet exercice artificiel et "moderne" qui consiste ŕ donner les huit suites ŕ la queue-leu-leu. Une belle relecture du "style męlé" cher ŕ toute L'Europe baroque, pour une réjouissante réponse au "style convenu" qui menace quelques-uns de nos meilleurs orchestres."
(Philippe Ramin, Diapason, 1/2008 - Fünf Stimmgabeln)

"Sensitive
… Although these orchestral Suites are formally oriented to Lully their contents nevertheless surpass their model in relation to the treatment of thematic development and melodic concepts. Michi Gaigg proves to be a thoroughly convincing advocate of this music with her knowledgable and yet sensitive interpretation. She succeeds beautifully in showing the entertaining aspects of the dances but also the rich atmosphere in the Overtures and Passacailles."
(Matthias Hengelbrock, Fono Forum, 11/2007 - Music *****)

"Michi Gaigg in the French manner
Michi Gaigg, leading the L'Orfeo Baroque Orchestra as concert master (French.: Dessus), presents Suites in French style by J.C.F. Fischer, the director of music in Baden. The orchestra has been positioned in a historically informed manner. The splendid music, Le Journal du Printemps, was published in 1695, and is presented here in an exciting and vivid interpretation. A worthwhile discovery."
(Heinz Rögl, Die Bühne, 10/2007)

"... An energetic and colourful performance by the L'Orfeo Baroque Orchestra directed by Michi Gaigg. A discovery."
(Judith Schmitzberger, Kurier, 23 September 2007)

"... With precision and great esprit played by the L'Orfeo Baroque Orchestra directed by ... since many years now she and her ensemble have been among the leading specialists for Baroque music ... The beautiful new recording will definitely be welcomed not only by lovers of the High Baroque."
(hr2 CD-Tipp, 9/2007)

"War and Love
Spring should be back again! For all those who battle with the current season the "Le Journal du Printemps" is highly recommended. This "Spring diary" was published by Johann Caspar Ferdinand Fischer, the "Hochfürstlicher marggräfl. Baadischer Capellmeister"(Chapel master to the Duke of Baden-Baden) in 1695 as his Opus 1.
The diary consists of eight orchestral Suites in French style, adapted to the needs of the orchestra employed in Baden-Baden. Another ingredient in this already "mixed pickle" is the Austrian accent in this recording of seven Suites by the L'Orfeo Baroque Orchestra directed by Michi Gaigg. The sound isn't as harsh as with most of the more Northern ensembles: this ensemble treads lightly and with warmth. And of course this charming Spring invites the couples to dance the Gavotte and Bourrée, Courante and Sarabande, there is also a battle cry in the "Air des Combattans". Sometimes love and war are too close for comfort."
(Wolfgang Fuhrmann, Frankfurter Allgemeine Zeitung, 23 October 2007)

"Michi Gaigg and the L'Orfeo Baroque Orchestra dedicated themselves to Fischer zealously. The recording here presents high spirits and freshness. Especially the numerous beautiful woodwind solos are very impressive: the two flűtes douces in the Plainte of the second Suite or the solos by oboe and bassoon later on. Again cpo presents good sound quality. A highly recommendable disc for lovers of Baroque music."
(Heinz Braun, Klassik heute, 29 October 2007)

"Le 'Orfeo Barockorchester', sous l'impulsion de son premier violon Michi Gaigg, nous livre ici une interprétation haute en couleurs, pleine de verve et de vitalité. Côté technique, cette production ne laisse rien ŕ désirer et comble le mélomane le plus exigeant."
(Pierre Schwickerath, Pizzicato (Luxemburg), 11/2007)

Jean-Féry Rebel
(1666-1747)

Les Élémens, Symphonie de danse (1737/38)


Jean-Philippe Rameau
(1683-1764)

Suite from Castor et Pollux (1737/54)


In the beginning was chaos, and it must have sounded dreadful. In 1737 Jean-Féry Rebel put this chaos to music quite literally by starting his symphonie de danse "Les Élémens" with a cluster consisting of all pitches. And then, slowly, through natural laws the elements find their positions in the universe. What an effect! Even today it hasn't lost any of its power. The L'Orfeo Baroque Orchestra directed by Michi Gaigg combines this musical spectacle of the French late-Baroque with a Suite from Rameau's "Castor et Pollux". Great!"
(Carsten Fastner, Falter, 26 June 2008)

"Michi Gaigg and her L’Orfeo Baroque Orchestra have been courting 17th and 18th century French music for a while now. And introducing sounds and repertoire we are not so well acquainted with yet. This Upper Austrian model ensemble now deals with Jean-Fery Rebel’s "Les Eléments" and Rameau’s Suite from "Castor et Pollux". And what a feat! Their impulsive musicianship, their creative phrasing, the acribic search for smallest details of affects in this fascinating music hits the nail on the head."
6 Points (out of 6)
(Michael Wruss, Klassik-Kopfhörer, OÖ Nachrichten, 10 August 2008)

"Beware when you expect to hear some harmless Baroque music when listening to this CD the first time! Jean-Féry Rebel starts his ballet music with a diatonic cluster containing every single note of a d minor harmonic scale. And the L’Orfeo Baroque Orchestra is not ashamed to let us hear its full impact. Rebel’s version of the creation of the elements originated 60 years before Haydn’s „Schöpfung“ and commences with „Le Cahos“[sic!]. The following movements of the Suite remain colourful und musically highly effective. Also in Rameau’s Castor et Pollux the young Austrian ensemble exudes enthusiasm and finesse“.
(Wolfgang Fuhrmann, Partituren, September/October 2008)

Georg Philipp Telemann
(1681-1767)

3 Overture Suites for Recorder (2 Oboes), Strings and B.c.
Carin van Heerden, Soloist and Direction