Mozart's string quintets, and particularly the last four (K 515, K 516, K 593 and K 614) are often cited as being among the finest examples of his chamber music. The musicologist Charles Rosen has drawn attention to the fact that the quintets always appeared shortly after the completion of a series of quartets, as if the medium represented a more ideal and final realisation of the composer’s musical thoughts. It is not, however, a question of quartets with a fifth, ‘extra’ part. Even the early K174 possesses a striking complexity, and as a group the quintets employ a great variety of textures: dialogues between two instruments with three-part accompaniment from the others, the alternation of two string trios (two violins and viola or two violas and cello), or violin duets, alongside viola duets, accompanied by the cello. The performances of these intricate masterworks by the Orlando Quartet and Nobuko Imai, have been highly regarded ever since their original releases and were for instance described as 'magisterial and gripping' on AllMusic.com. They now appear in this box set, accompanied by a fourth disc which brings together three further Mozart quintets for varying constellations: the charming Horn Quintet from 1782, the extraordinary Clarinet Quintet from seven years later and the Quintet for piano and winds which Mozart in a letter to his father in 1784 described as 'the best thing I have written so far'. Performing these works here are eminent musicians including Radovan Vlatkovic, Martin Fröst and Stephen Hough.

With 17 symphonies in his list of works, not to mention operas and concertos, it is easy to forget that Kalevi Aho also composes chamber music. He has in fact written some ten quintets alone, for various combinations of instrument. Two are ‘normal’ wind quintets and it is these that the Berlin Philharmonic Wind Quintet (BPWQ) perform on the present release. The ensemble came into contact with the Finnish composer’s Wind Quintet No. 1 in 2010, and was immediately struck by the qualities and challenges of the score. The composer himself has described the difficulties in writing for wind quintet, in terms of achieving a balanced and homogeneous sound and soft dynamics. In his first quintet he therefore included unison passages and sometimes even reduced the music to one or two parts. In the fourth movement he also added a spatial dimension by having all of the players perform from offstage at some point. Having played the work a number of times on their many tours, the BPWQ decided to commission their own quintet, and in 2015 they gave the first performance of Wind Quintet No. 2. This time, Aho found another solution to the inherent difficulties – by making the flutist and oboist change instruments to piccolo or alto flute and cor anglais at various points, the piece achieves an even wider spectrum of unusual and innovative tone colours and moods.

One of the world's foremost wind quintets meets one of today's finest pianists in a work that many consider to be one of the best examples of a work for piano and winds: Poulenc's Sextet. The composer himself called it 'a homage to the wind instruments which I have loved from the moment I began composing', and its cheeky character, virtuosic drive and catchy melodies are typical of his other writing for wind instruments. Poulenc also supplied the piano with a crucial - and virtuosic - part, however, including jazzy elements typical of the period as well as emotional outbursts in the manner of Rachmaninov. Stephen Hough and the Berlin Philharmonic Wind Quintet have enjoyed a long collaboration. On disc this has resulted in recordings of the quintets by Mozart and Beethoven, a release which made the reviewer on the website classicstodayfrance.com surrender unconditionally: 'the adjective which comes to mind while listening is one of excruciating banality, and yet it says everything: this disc is profoundly beautiful'. Poulenc's sextet is framed by three other French works, and from the late-Romantic Quintet by Taffanel to the last of Tomasi's Cinq Danses (a 'War Dance' marked 'wildly frenetically'), the players of the Berlin Philharmonic Orchestra - who began performing as a group more than 20 years ago - once again demonstrate their supreme capacity not only on their individual instruments, but as ensemble players. Please note: The music on this Hybrid Super Audio CD can be played back in Stereo (CD and SACD) as well as in 5.0 Surround sound (SACD).

On this disc one of the world's finest pianists encounters one of the world's greatest wind quintets, performing two very special works: Mozart's and Beethoven's quintets for piano and winds. While the Beethoven Quintet is a new recording, the Mozart works on this disc have been previously released, on BIS-CD-1332. On its release in 2000 that disc was highly praised, for instance in Gramophone, which called it 'a real Mozartian experience' and in American Record Guide: 'The best recording of Mozart's Quintet I have ever heard.' According to Le Monde de la Musique, 'by the clarity, the subtly applied abundance of inflexions and a very real inner power' the musicians proved themselves 'true Mozartians'. As this disc will show, they are no less true Beethovenians!

If the string quartet can claim Haydn as its father, the wind quintet has two - Anton Rejcha and the slightly younger Franz Danzi (1763-1826). Between them they provided this new combination with a large repertoire (Rejcha alone composed no less than 24 quintets) and set the mould for composers to come. Thereby they also came to contribute significantly to the development of a new type of wind playing without which the classical/romantic symphony orchestra sound would be unimaginable. Danzi trained as a cellist and composer - by his contemporaries he was held in high regard for his successful operas, instrumental concertos and sacred works - but it was probably his experiences as a conductor, chiefly at the Karlsruhe court theatre, which formed the basis of his fine understanding of wind instruments and of ensemble playing. This was recognised at the original release of these discs, when the Gramophone's reviewer wrote that the music 'has great charm and polish, enhanced by the persuasive craftsmanship of its scoring.' But even more than the music - described in Fanfare as pieces which 'could turn Mozart-lovers into lovers of Mozart-loving Danzi' - it was the performances by the Berlin Philharmonic Wind Quintet and (in the three piano quintets) Love Derwinger that moved the reviewers to use superlatives. The French magazine Repértoire claimed that the interpretations were 'luminous: alternately flowing and spirited, dreamy and boisterous; of an exhilarating virtuosity, tinged with poetry and in full gala dress.' Here, then, is a great opportunity to discover the birth of a genre in the best possible company!