Superb performances of Beethoven Sonatas for Piano and Violin, including the justifiably famous "Kreutzer" Sonata.

One of Gramophone's Best Classical Recordings of 2022!

This recording brings together two of the greatest works of the Classical era in transcriptions for solo piano by two of the greatest pianist-composers of the Romantic era, resulting in two of the most thrilling experiences that nineteenth-century pianism has to offer. Successfully marrying the unique charac­teristics of the piano to the defining features of Beethoven’s orchestral writing, Franz Liszt is showed here at his most coloristic. He vividly captures the rapid scene shifts and mood changes of Beethoven’s Eroica and exploits not only the piano’s ability both to whisper and to roar, but also the power and intensity of silence. In Mozart’s 20th piano concerto, Charles-Valentin Alkan takes on a different challenge as he masterfully weaves the orchestral and solo piano parts into a single tapestry that brims from start to finish with piano writing of startling inventiveness and originality.

These two pianistic tours de force are presented here by Paul Wee – also a barrister specializing in commercial law at Essex Court Chambers in London – whose astonishing technique and passion for nineteenth-century pianism have been highlighted on acclaimed recordings dedicated to music by Alkan and transcriptions by Thalberg.

REVIEWS:

[Paul Wee's] fleet basic tempos for the opening movement and the Scherzo raise the bar for lightness, crisp articulation, and forward moving intensity, making his colleagues sound thick by comparison. Wee’s remarkable technique particularly impresses in the Finale’s incisively delineated counterpoint. What staggeringly even runs!–not to mention Wee’s ability to play rapid left-hand octaves more proficiently than most pianists can play single lines.

The main challenge of Alkan’s solo piano transcription of Mozart’s D minor concerto is to differentiate solo passages and orchestral tuttis by way of phrasing, touch, voice leading, smart pedaling, and dynamic control. Wee does this brilliantly throughout.

[A] transcendent achievement.

-- ClassicsToday.com

Among the motivations of this disc, the most important one is the wish to present the various styles and periods in a clear, simple way, endeavoring to avoid superabundance and the accumulation of crossover deposits that are often heard where it seems that the music of the past cannot be self-sufficient and needs an extra chromatic and rhythmic shove in order to catch the listeners’ attention, inducing them to compare it with the commercial, repetitive entertainment repertoire. In this musical journey between Italy and Spain of the Baroque era, Paolo Rigano on the archlute and baroque guitar and Cinzia Guarino on the harpsichord are interpreting a singular anthology of pieces enriching the playing through the practice of the basso continuo that marked the entire musical period from the Renaissance to the late Baroque.

Scriabin and Mozart: two composers rarely associated, yet the juxtaposition here seems clear when performed by Zlata Chochieva. In this first album, the Russian pianist, new to the naïve label, is ingenious in both the cycles of fragmented variations and the more opulent sonatas or preludes. This project is inspired by the 150th anniversary of Scriabin’s birth, but Zlata Chochieva has been a fan of the Russian composer since her childhood as he was the first to appeal to her emotions as a listener and performer. Associating him with the classical Mozart – rather than a romantic composer, as is usually the case – enables Zlata Chochieva to conjure up an unexpected kinship that benefits from her vibrant and graceful style, rising to thrilling virtuosity. “The perfection in the phrasing, the polyphony and the formal proportions, plus the concision and the lack of superfluous notes are just some of the points that link Scriabin to Mozart,” she explains.

Zhu Xiao-Mei has taken an important place in the classical music world, not least in view of her valuable interpretations of Bach's music. This CD box set combines other key works by the pianist from Scarlatti, Haydn and Mozart to Beethoven, Schubert and Schumann, testifying to her ability to express a wide range of styles and epochs through her unique artistic vision and tonal sensitivity. These recordings, recorded between 1995 and 2011, are the result of an intense exploration of the different characters of the six composers and are indicative of their interpreter's Œuvre.

Ferdinand Ries occupies a remarkable place in the history of music. He was famously a friend and pupil of Beethoven and a virtuoso pianist. His extensive oeuvre opened up the musical aesthetics of Viennese Classicism to Romanticism. Completed in 1826, the Piano Trio in C minor, Op. 143 features two lively, fast movements surrounding a poetic Adagio, reminiscent of the era's finest opera arias. Very different is the Grand Trio in F minor, WoO 86. It features four thematically interwoven movements that traverse emotions from despair to passion and eventual peace.

Canadian pianist Richard Raymond performs four favorite Beethoven piano sonatas, including the Moonlight, Appassionata, and Pathetique. A prize-winner in multiple competitions, Raymond has performed with the Montreal and Toronto Symphonies, and many others. He has also performed as a soloist in numerous countries, as well as playing chamber music.

These Bavarian Radio recordings, first released in 2005, constitute Rudolf Serkin's third and final edition of the Complete Beethoven Piano Concertos, and were the only performances to be recorded in the concert hall, not in the studio. As such, they fittingly complete both his discography and his artistic legacy as one of the 20th century’s indisputably great pianists. This jewel case presentation, complete with booklet notes in German and English, is a re-release of the original 3-album box set that went out of stock following healthy sales.

REVIEWS:

For at least a half century Beethoven’s piano concertos played a central role in Rudolf Serkin’s repertoire. Yet out of all the Serkin Beethoven concerto cycles on disc, the present one, recorded over the course of three concerts in October and November of 1977, offers the most consistent artistic and sonic satisfaction.

The slightly distant yet attractively robust engineering conveys a cogent sense of concert hall-realism, and not just to the benefit of Rafael Kubelik’s superb Bavarian musicians. It also reveals Serkin’s elusive, difficult-to-record sonority in more flattering, three-dimensional light than the gaunt, often monochrome impression one gleans from his Columbia Masterworks sessions. As a result, the concentration and inner tension Serkin brings to the slow movements comes off with more warmth and sustaining power.

Although Serkin at 74 may not have been the impetuous, fiery virtuoso in the first three concertos’ finales that he was in his 40s, when he recorded them for CBS Masterworks, his technique nevertheless is still assured, alert, and responsive, and far more energized than in his relatively careful and labored collaborations with Ozawa.

However, Serkin must have drunk from the fountain of youth before hitting the stage for the Choral Fantasy (Kubelik, too, for that matter). The performance radiates inspiration from start to finish, highlighted by Serkin’s ardent yet cannily structured opening cadenza, the chamber episodes’ zestful give and take, plus massed choral and orchestral tuttis that at once communicate elemental power and textural clarity. Let’s hope this major addition to Serkin’s discography will encourage Sony not to leave its own complete Serkin edition hanging.

For all fans of the pianist and/or the conductor, this release is a must.

--ClassicsToday.com (Jed Distler)

This recording of Serkin from 1977 highlights a 20th-century great who brought musical purpose and intellectual rigour to every detail. Serkin ranks among the greatest of 20th-century pianists; his repertoire ranged from Bach to Reger, but Beethoven was always at its very heart. In the autumn of 1977, in the Herkulessaal in Munich, he played all five Beethoven concertos as well as the Choral Fantasy in a series of concerts with the Bavarian Radio Symphony Orchestra under Rafael Kubelík, another musician who, like Serkin, always put himself at the service of the music. Recordings of those performances were first released on disc in 2005...their reissue now makes available again what is in every respect a historic musical document.

Serkin was never interested in ingratiating himself through honeyed phrases or silken tone. Instead in these interpretations there is musical purpose and intellectual rigor in every detail. Whether it’s the almost combative muscularity he brings to the piano’s first entry in the third concerto, or the instant authority of his torrential opening to the Emperor, it sets the tone for all that follows, constantly drawing equally intense responses from Kubelík and his superb orchestra. The accounts of the slow movements are just as remarkable; there’s a hymn-like calm to the Largo of the third, a consoling sweetness to the fourth’s exchanges between the soloist and the orchestra. All are in short, remarkable performances, not only among the finest available on disc, but further reminders of just how peerless a Beethoven interpreter Serkin was.

--The Guardian (Andrew Clements)

During the 18th century, the string quartet gained the position of the most valued and most challenging chamber music genre, and gradually became a vehicle for conveying the composer’s personal feelings. Joseph Haydn played a key role in forging the quartet’s classical form. He created almost 70 string quartets, which, along with the symphonies, constitute the largest, as well as the most significant, part of his oeuvre. Haydn accorded them the form that would serve as the model for Mozart, Beethoven, and later composers. Just as fascinating as the quantity is his quartets’ sheer diversity, with each of them being singular, featuring novel (often humorous) ideas, experiments, as well as constant seeking of new possibilities of expression.

The three quartets included on the present album chart the development of Haydn’s musical idiom, from Op. 17 (1771), which he wrote at the age of 40, through Op. 33, dubbed “Gli Scherzi” (1781, dedicated to the Grand Duke of Russia Pavel Petrovich, the future Tsar Paul I), to the formally experimental pieces making up Op. 54 (1788). The Bennewitz Quartet have given numerous concerts worldwide, including at the most prestigious venues (Wigmore Hall in London, Musikverein in Vienna, Konzerthaus in Berlin, Théâtre des Champs-Elysées in Paris, concert halls in New York, Seoul, etc.) and such renowned festivals as the Salzburger Festspiele, Lucerne Festival and Rheingau Musik Festival. At many of them, they have performed quartets by Haydn, one of their favourite composers, whose music they endow with a transparent sound, revealing their levity and sense for detail. The Bennewitz Quartet – at home with Haydn

The freshness of works of a young master: this is what we discover on the new GENUIN album presented by the Folkwang Chamber Orchestra Essen under the direction of Johannes Klumpp. In Wolfgang Amadeus Mozart's Divertimenti K. 136-138, we hear a young composer in the process of growing up. The top-class, versatile orchestra performs these sparkling treasures lovingly and with spirit, full of dynamism and effervescent humor. Energetic concerts, curious programs and musical excellence have been the hallmarks of the Folkwang Chamber Orchestra in Essen for 64 years. In its concerts, the international, young ensemble under the direction of chief conductor Johannes Klumpp explores new limits and experiments with concert forms, genres and styles: other art forms are regularly combined to music in the concerts.

The recording project of organist Giovanni Battista Vaglica aims to enhance the original artistic heritage of the Sicilian Archdiocese of Monreale (Palermo). The territory of Monreale is in fact particularly rich in ancient instruments dating back to the Sicilian school of the eighteenth century, usually small in size and designed mainly for liturgical use. Our care in the choice of the repertoire to be used in this journey through organ music was focused chiefly on the Neapolitan school, on which several generations of musicians coming from the Mediterranean area and elsewhere have drawn and have based their musical education. Within this school, Alessandro and Domenico Scarlatti are two important figures; particularly Alessandro, the father, who decided to move from Palermo to Naples, where he became the teacher of many musicians.

Favourite selection of virtuosic, poetic guitar solos by the Catalan maestro.

Idil Biret who arrived in Paris at the age of seven and a half, unable to read music but playing Mozart's C major concerto as she will never play better. It was played by a great artist who happened to be a little girl who could not read music. One played her a piece of music once or twice and she knew it all. (Nadia Boulanger, Paris 1973)

“Gut strings and classical bows are also the tools of a captivating quest for sonority”, French magazine Diapason recently wrote to describe the Chiaroscuro Quartet. After Op. 20, Joseph Haydn’s first major string quartet cycle, and Op. 76, his last, the internationally renowned ensemble is now embarking on the Quartets Op. 33, dubbed the “Russian Quartets” and dedicated to the Russian Grand Duke Paul, the future Tsar Paul I. Having earned a reputation as eccentric and non-conformist, sometimes downright offensive, Haydn felt the need to write music more in keeping with the public’s lighter, more ‘popular’, less ‘scholarly’ tone, with a livelier sense of rhythm. And while there is comedy in some of the scherzos, it would be wrong to reduce these works to what some dour critics have called ‘comic fooling’.

In Quartet No 1 in B minor, the comedy is cerebral, often disturbing. This is certainly not the case in Quartet No 2 in E flat major, nicknamed “The Joke” because of the sparkling tarantella that concludes it. In Quartet No 3 in C major, “The Bird”, Haydn invites us to a veritable bird concert before concluding brilliantly with its persistent refrain inspired by a wild Slavic folk dance.

With these concerts, the Gewandhausorchester Leipzig embarks on a musical journey to the Czech Republic in memory of its former conductor Václav Neumann. It was there that Jan Václav Voríšek was born in 1791, the year of Mozart's death, and was taken away from it by pulmonary tuberculosis at the same age as Mozart, only 34 years old. The manuscript of his D Major Symphony shares the fate of the symphonies of his friend and companion Franz Schubert and was neither printed nor performed during his lifetime. In the meantime, however, it has become his most frequently performed work! A short, late and rare happy chapter of Wolfgang Amadeus Mozart's moving biography is set in the capital of the Czech Republic. When he arrived in Prague in January 1787, he was quite astonished: That his music met with such great enthusiasm was by no means a matter of course for Mozart. Looking back, he will describe his successes in Prague as the most beautiful moments of his life. The D Major Symphony K. 504 was premiered in Prague and opens the group of Mozart's last four symphonies.

A fascinating testimony to Beethoven's time, these musical treasures area authentically and lovingly performed on historic instruments by ensemble1800berlin with great respect for the original and Hummel's ingenious arrangement.

The LSQ celebrates Haydn's ideas with wit and charm as well as brilliance in the expansive solo passages which revive the hype of 1790s Vienna and London. This is Haydn at the height of his creative powers and a quartet to the highest performance standards. The natural, unobtrusive recording technique elevates these Classical masterpieces to their rightful pedestal.

The London harpist Rosanna Rolton, winner of the International Competition "Suoni d'Arpa" in 2014, shows her skills in a repertoire completely dedicated to the Italian harpsichordists of the eighteenth century, rediscovering those ancient and solid bonds, which have united the repertoire for keyboard to that of the harp. In the wake of that connection that has constantly intersected various aspects of musical production, from solo concerts to teaching, from basso continuo to singing accompaniment, the anthology proposed by Rosanna Rolton proposes compositions drawn by the master harpsichordists of the Neapolitan school and Venetian, who created that musical substratum making, from the second half of the eighteenth century the Italian "gallant style", whose roots were greatly re-evaluated during the chamber and symphonic renaissance of the early twentieth century.

This recording brings together two of the biggest sacred works written by Mozart and Haydn, the friends and contemporaries caught at opposite ends of their musical lives. Wolfgang Amadeus Mozart composed the substantial Mass in C minor (K. 139) for the consecration of the Waisenhaus (Orphanage) Church in the Rennweg when he was just twelve years old. The Mass received its first performance on 7 December 1768. While Mozart was overseeing the consecration of the Waisenhaus, Joseph Haydn was in the third year of his promotion to Kapellmeister at the palace of Esterházy, under Prince Nikolaus I. It was a post to which he returned in 1795, serving under Nikolaus II on a part time basis. This second term saw the composition of six Masses, with the penultimate – nicknamed the ‘Nelson Mass’ – widely regarded as his finest setting.

As one of the finest pianists of his era and an improviser of genius, Ludwig van Beethoven’s preferred vehicle for musical exploration was the piano. With his five piano concertos composed between 1788 and 1809, he not only achieved a brilliant conclusion to the Classical piano concerto, but also established a new model for the Romantic era: a sort of symphony with obbligato piano which was to remain a reference point well into the twentieth century. After the first two concertos, which still closely follow the models of Haydn and Mozart, Concerto No. 3 marks a profound stylistic change. In the piano part, Beethoven pushes the instrument to its limits, leading commentators to remark that he was writing for the piano of the future. This trend continued and reached its fullness in the Fourth and Fifth Concertos, which today rank among the great composer’s most admired works.

In 2009, Haochen Zhang was the youngest pianist ever to receive the Gold Medal at the Van Cliburn International Piano Competition. Since then he has captivated audiences worldwide with a unique combination of deep musical sensitivity, fearless imagination and spectacular virtuosity. He now performs the five Beethoven concertos supported by the prestigious Philadelphia Orchestra under its principal guest conductor, the charismatic Nathalie Stutzmann.

REVIEWS:

In a crowded pool of complete Beethoven piano concerto recordings, young Chinese pianist Haochen Zhang makes an impressive splash with his traversal of one of the most imposing cycles in the entire repertoire. With French conductor Nathalie Stutzmann leading the Philadelphia Orchestra, Zhang deftly handles Beethoven’s fiendish runs and cadenzas throughout these five imposing works. Most memorable are the 3rd and 4th concertos, which have the most balance between urgency and delicacy.

-- The Flip Side

Recorded live at Boston's magnificent Symphony Hall, CORO brings together on one album the Handel and Haydn Society's recordings of Haydn's early Symphonies Nos. 6, 7 & 8. Known as Le matin, Le midi and Le soir, the three works, written shortly after Haydn joined the court of Prince Paul Anton Esterhazy, are amongst the most striking of the composer's early symphonies. Characterised by unusual virtuoso writing across the orchestral ensemble, all three works feature extensive solo passages for the wind, horn and strings, including rare solo writing for the double bass and bassoon, and demonstrate Haydn's emerging skill as a master of symphonic writing.

Native from Naples, Italy, pianist Lorenzo Pone lives in Salzburg and is one of the most highly acclaimed young pianists today. Having been a student of Paul Badura-Skoda's for almost a decade, he dedicates his debut album "Tribute to Paul Badura-Skoda" to this great master. Universally praised for the distinctive quality of his sound and his formidable perfectionism, Pone presents among others piano sonatas which he worked on with Badura-Skoda during the last weeks of the latter's life in 2019, among them the Sonata No. 51 by Joseph Haydn, the Grand Sonata No. 26 in A-flat major by Ludwig van Beethoven, the Piano Sonata Op. 1 No. 10 by Lodovico Giustini and the Three Nocturnes Op. 15 by Frederic Chopin. The program, which is derived from a piano recital given at the Teatro di San Carlo of Naples in honor of Badura-Skoda in October, 2019, closes off with three pieces of Claude Debussy's Preludes: Minstrels, La fille aux cheveux de lin and La Puerta del Vino.

Fernando Sor is probably only known to guitar enthusiasts today. The fact that his extensive oeuvre is hardly known beyond the etudes probably has to do with his renunciation of outward virtuosity while at the same time maintaining the highest technical standards. It takes a master like Frank Bungarten to lend glowing expressivity and delicate elegance to works that at first sight seem brittle. Sor does not make it easy for guitarists: where his contemporaries increasingly produce pleasing salon pieces or shine with virtuoso bravura, he writes sonatas of enormous scope, and instead of at least delivering a rousing finale, he ends with an almost timid minuet. For the listener, many of the smaller pieces seem simple and unpretentious - at least when Frank Bungarten makes us forget the enormous difficulties.

Sor explores the expressive possibilities of the guitar in uncompromising depth, especially the cantabile playing and the complexity of the movement are unparalleled. Exceedingly comprehensively educated, he seeks to make the limitations of the instrument forgotten. His ambition to succeed as an opera composer remained unfulfilled - so the everyday dramas take place in the small forms... This is not for the large concert hall, where one hardly ever encounters Sor's works. In the intimate atmosphere of the salon or the living room at home, however, a universe of dreamlike nuances of musical expression opens up to the attentive listener. The finely balanced recording technique never pushes itself into the foreground and allows a deep immersion in this world of sound, which begins to sparkle particularly attractively in the three-dimensional reproduction.

Giorgi Gigashvili is only twenty-two, but he is already hitting the headlines: now a pupil of Nelson Goerner, he is a protégé of Martha Argerich, who gave him the urge to play the piano alongside his first love, pop singing: at the age of thirteen, he was a contestant in The Voice in his homeland, Georgia, and won the prize! A few years later, Argerich discovered him at a piano competition, and he went on to win prizes at several more, including the Hortense Anda-Bührle Prize at the Géza Anda Competition in Zurich in 2021. Another high-flying mentor, the violinist Lisa Batiashvili, asked him to play him the piano on her recording of the Franck Violin Sonata. His free and spectacular playing impresses, his creativity and personality astonish. Here he presents his first recital, revealing his palette of colours: Scarlatti, Beethoven, Scriabin and Messiaen. But never far away is his shadow, the singer of the electro band Tsduneba (‘temptation’ in Georgian) which he founded with his friends.

This unique box set explores the deep bond between Ludwig van Beethoven's music and literature-from Schiller and Goethe's poetic inspiration to Beethoven's theatrical scores like The Ruins of Athens, Egmont, and Fidelio. New text versions and insightful interpretations breathe fresh life into rarely heard works, highlighting Beethoven's belief in music as a moral force. A powerful journey through music shaped by words, and words inspired by music.

Domenico Cimarosa, one of the last great exponents of the Neapolitan School, was also one of the most-performed opera composers before the arrival of Rossini. He composed over 60 such works and was esteemed from Venice to St Petersburg, where he was appointed to the Russian Court. L'Italiana in Londra ('The Italian Girl in London') is a charming and sophisticated intermezzo that displays an incredible understanding of comic situations and characters, satirising different cultural stereotypes that are as identifiable today as they were in the 18th century. Humour and wit abound in this acclaimed production.

The 'Dissonance' Quartet is probably the best-known of the set of six Mozart wrote between 1782 and 1785 as a tribute to Haydn. It owes its nickname to the strange clashes of the slow introduction in C minor. Almost a century later, the thirty-year-old Tchaikovsky wrote his Quartet no.1, op.11, whose second movement, which moved Tolstoy to tears, was inspired by a folk tune that the composer heard a housepainter whistling. The musicians of the Esmé Quartet chose these two pieces because they love their respective Andante cantabile movements. The four young women also decided to put the spotlight on one of their compatriots, the South Korean composer Soo Yeon Lyuh, who in 2016 wrote Yessori, 'sound of the past', for the Kronos Quartet. She explains: 'I first got used to playing the piano and the violin. So, later, when I encountered Korean traditional music, its relative pitch relationships and fluid rhythmic cycles felt completely new.'

Mozart’s Requiem was not performed in Paris until 1804, in a version slightly different from the composer’s original score. The press reported a triumph. That same year also saw the coronation of Napoleon Bonaparte – who had brought back a pronounced taste for Italian music from his Mediterranean conquests. He appointed the Neapolitan Giovanni Paisiello (1740-1816) as his maître de chapelle and commissioned him to write the music for his coronation: a Solemn Mass in B flat major. The Palazzetto Bru Zane has produced the modern edition of the work that is recorded here.

Aside from the sumptuous events of 1804, the other year that links Napoleon to Mozart is 1841, when the Requiem was heard once more, this time at Les Invalides as Napoleon’s remains entered the building for their final burial. Sandrine Piau, Chantal Santon, Eléonore Pancrazi, Mathias Vidal and Thomas Dolié are the soloists in this programme, with Julien Chauvin conducting his ensemble Le Concert de la Loge and the Namur Chamber Choir.

After their exciting interpretations of Haydn, Beethoven and Schubert, the Chiaroscuro Quartet now turns to Mozart’s Prussian Quartets, his last compositions for this formation. These quartets were written for Friedrich Wilhelm II, King of Prussia and amateur cellist, and offer that instrument an unusually prominent role. The first of the three was composed fairly quickly, in June 1789, but the next two were not completed until the following year, and in the end Mozart’s plan for a set of six came to nothing. The writing of quartets was never an easy matter for Mozart. However, one would hardly guess that the Prussian quartets were the product of ‘exhausting labor’ (his own words), such is their beguiling ease of workmanship. No. 21 in D major stands out as one of the most melodious chamber compositions of Mozart’s mature period, emanating something of the sensual Mediterranean warmth of the opera Così fan tutte composed shortly afterwards. No. 22 in B flat major also emphasizes the importance of melody and gives the ‘royal’ cello some beautiful solos. As for No. 23 in F major, while it is tempting to hear a melancholy, autumnal quality in Mozart’s later works, there is, however, no sense of farewell in this his final string quartet: the spirit of Haydn is everywhere, especially in the finale with its effects borrowed from Hungarian folklore.

This extraordinary album by the artist Agata Maria Raatz combines the best of two musical worlds: Interpretation and composition. The artist is not only a soloist, but also the creator of a new musical work - Reflexe 1766. The album forms a sound bridge between Mozart's time and our present, a musical reflection on past and present experiences. Inspired by a real journey through Switzerland in the summer of 2024 in the historical footsteps of the Mozart family, this album creates a multi-sensory sound journey. The experiences of this route have been deeply incorporated into the composition. A special highlight: the soloist wrote her own cadenzas for both recorded violin concertos. They are artistic statements, personal reflections on Mozart's music. In terms of sound, the recording moves between past and present: historically informed playing meets modern instruments. This subtle balance of tradition, authenticity and innovation creates a touching sound language and an immersive listening experience. Mozart & Modern not only invites you to listen, but also to experience it. The violin becomes a narrator between the times, an echo of Mozart's operatic voice and the voice of a contemporary artist. This album is no ordinary classical music product. The Swiss Mozart Route is artistically anchored in the European cultural heritage, in which QR codes, places and history have just as much a place as water, light, movement and silence. Mozart & Modern is a concept album that needs to be experienced - Agata Maria Raatz takes us on this extraordinary musical journey.