|www.allmusic.com, Blair Sanderson (30. September 2011)|
[…] With an orchestra playing authentic instruments and numbering fewer than 40 members, approximating the size of the ensemble Liszt knew in Weimar, the sound of these performances is quite exposed, distinctive, and fresh, and perhaps a little lean to modern ears accustomed to large symphony orchestras. This music was regarded as cutting-edge in Liszt's day because of its novel sonorities, especially in the instrumental combinations, which come across strikingly in these recordings.
[…]Thanks to his years of experience in playing Liszt's organ music, Haselböck is authoritative in his direction, and his scholarship undoubtedly reinforces the authenticity of the performances.
Rob Cowan, Gramophone (01. August 2011)
There can be little doubt Martin Haselböck hears his Liszt from the organ loft. His five-CD set of organ works (NCA) attests to both musical perception and scholarship, and I’m fairly certain that his approach to the complete orchestral works, of which this is the first volume, will find him a thoughtful and imaginative proponent of Liszt’s revolutionary language.
[…] An auspicious start, then, to what should prove an important new series, a valid overview and an interesting alternative to the more weighted, modern-instrument options provided by likes of Masur, Haitink, Karajan and the unstintingly passionate Nikolai Golovanov - though none of the aforementioned offers as comprehensive an overview as that Haselböck is planing for us.
www.allmusic.com, Blair Sanderson (01. Juni 2011)
[…] It's easy to understand why this music was regarded as cutting-edge, because it offered novel sonorities, especially in the instrumental combinations, and some special effects of orchestration that had few practitioners, other than Berlioz and Wagner. Yet Liszt's explosive depiction of Dante's "Divine Comedy" paves the way for the tone poems of Richard Strauss and the symphonies of Gustav Mahler, and the careful listener will notice that the leanness and transparency of the orchestral writing is quite different from the more homogenous scoring by the Classically oriented composers of the time.
Rob Cowan, music critic, BBC Radio 3 presenter (07. März 2011)
"Wow! The Liszt Dante Symphony is a revelation: the rugged textures, the transparency, the earthiness that contrasts with the spiritual elements at the end...It blew me away!"
Opera News, Andrew Druckenbrod (01. Oktober 2010)
The Infernal Comedy
[…] But the music doesn't take a back seat to the actor.
[…] the Orchester Wiener Akademie under Haselböck lends compelling energy to the action.
Audiophile Audition, Mike Birman (15. Februar 2010)
HANDEL: Acis and Galatea
[…] Close your eyes and you feel like you're there.
Gramophone (01. Juni 2009)
(...) Minimal forces but maximum characterisation (...)
(...) in the case of Martin Haselböck and the Wiener Akademie, the ARTS recording is marked by lovely characterisation of the solo parts - terrific horns once again - with a rich tonal palette lending grandeur especially to Le midi's introduction? The storm is borne aloft on those marvellously temptestuous horns.
(...) In the final reckoning it's the flexibility and colourfulness of the Wiener Akademie that just about swings it for me.