Martin Haselbock has distinguished himself on the international music stage, earning an outstanding reputation as an orchestral and opera conductor and solo organist. His primary focus lies in works of the Baroque and Classical periods, and he is equally at home with period and modern-instrument ensembles. While in his official role as Court Organist for Vienna, where he was responsible for an extensive repertoire of classical church music, Haselbock began an intense commitment to conducting, which led to his founding the now-famous Wiener Akad ie in 1985. With thiSemperiod instrument orchestra, Haselbock established a year-round cycle of concerts for the Gesellschaft der Musikfreunde in the Great Hall of the Vienna Musikverein, and they have made many international tours. In autumn 2005, he became music director of Musica Angelica, a premiere Baroque ensemble, and in 2007 he was named the artistic and music director of Operafestival Burgarena Reinsburg. Mr. Haselbock frequently guest conducts many of the world's fine orchestras, among th the Vienna Symphony, St. Paul Chamber Orchestra, Deutsches Symphonie- Orchesterememberlin, Dresden Philharmonic, Hamburg Symphony, Flemish National Philharmonic, Radio Orchestra Hilversum, Toronto Symphony and the National Philharmonics of Hungary, Czech Republic, Slovakia, and Slovenia. In the United States, he has conducted the Pittsburgh Symphony, Philadelphia Orchestra, San Francisco Symphony, Detroit Symphony and Los Angeles Philharmonic. He has also been a guest with his Wiener Akad ie as Artist-in-Residence with numerous festivals including those of the Cologne Philharmonic, Suntory Hall in Tokyo, and MozartFest in Wurzburg. As an opera conductor, he made his debut with the Handel Festival in Gottingen. He regularly appears at the Zurich Opera and he conducted new productions of Mozart operas at the Theatre im Pfalzbau Ludwigshafen; these productions were the first in Germany of Mozart operas using historic instruments. In 2000-01 he led new productions of Handel's Acis and Galatea, Gassmann's La Contessina, and Haydn's Die Feuersbrunst with his Vienna Akad ie, following in 2002 with productions at the Festival in Schwetzingen (Benda's Il buon marito) and Salzburg (Handel's Radamisto). In 2004, he led productions of Handel's Il trionfo del t po (Salzburg Festival), Mozart's Il re pastore (Klangbogen Wien), and Handel's Radamisto (touring to Spain, Istanbul, Venice, Israel, and the Concertgebouw in Amsterdam). He also conducted the U.S. premiere of Porpora's Il Gedeone in concert with Musica Angelica in Los Angeles. He has been invited to the Cologne Opera to lead Salieri's La Cifra and to the Hamburg State Opera for Handel's Alcina and Radamisto. His discography includes more than 80 recordings, ranging from the music of the Baroque to contemporary compositions. Recent releases include Bruckner's Symphony No. 1 with with the Weiner Akad ie on period instruments (Capriccio), Handel's Acis and Galatea (also on the Capriccio label), and Mozart's Don Giovanni (Novalis). This large and excellent discography has earned him the Deutsches Schallplatten Critics' Prize, Diapason d'Or, and Hungary's Liszt Prize. As a solo organist, he has since performed under the direction of conductors Abbado, Maazel, Muti, and Stein, has won numerous competitions and has made more than fifty solo recordings. He has since performed the world premieres of organ works by Ernst Krenek, Alfred Schnittke, and Cristobal Halffter. When not conducting, Haselbock is busy unearthing long lost vocal/instrumental works in the dusty archives of Kiev and Vienna, finding unpublished g s by Biber, Porpora, Fux, Muffat, and the Bach family, which he transcribes and resurrects in historical re-creations for his Vienna Akad ie ensemble and festivals around the world. Highlights of his future plans include a busy schedule with Musica Angelica, multiple Handel operas at various prestigious venues; a Beethoven recording project - including the symphonies and Fidelio ; and a Haydn recording project - consisting of the major choral orchestral works, and many late symphonies and concertos. These concerts mark his National Symphony orchestra debut.