This 11-CD collection showcases four of Mozart's most celebrated operas, Le nozze di Figaro, Don Giovanni, Cos� fan tutte and Die Zauberfl�te, with the inimitable Otto Klemperer at the helm. Featuring a host of star performers, including Lucia Popp as Despina, Elisabeth S�derstr�m as Countess Almaviva and Nicolai Gedda as Tamino, these classic recordings demonstrate Klemperer's supreme understanding of Mozart's operas.

Classical Music

Classical Music

Classical Music

Twelve CD box set containing Mozart's complete symphonies. The recordings were conducted by Jeffrey Tate, who was appointed first principal conductor of the English Chamber Orchestra in 1985.

Classical Music

Mozart is central to the repertoire of Christian Zacharias, born in 1950 and a pianist whose clarity, elegance, perception and wit make him a master of the Classical style. The New York Times has described his playing as "Apollonian... notable for it's probing insights and carefully wrought details". Comprising the piano concertos Nos 5-27, the complete piano sonatas and a selection of chamber music, this 15CD box shows Zacharias as both a soloist of prowess and as a sensitive partner to such fellow instrumentalists as Sabine Meyer, Frank Peter Zimmermann and Tabea Zimmermann.

A household word when speaking of repertoire, legendary flutist Jean-Pierre Rampal devoted just as much effort to establishing the masterpieces in their rightful place as to unearthing countless works from the baroque, classical and romantic eras. As far as concertos are concerned, cornerstones by Bach, Mozart and Vivaldi thus gained worldwide fame, and it went the same way for Ibert, Jolivet and Nielsen. Unfailing lyric sense, purity of style, magnificent tone, grace of phrasing, fabulous virtuosity, tremendous commitment... Critics, colleagues and the public were all running out of superlatives. Immediately valued as references, his recordings still fascinate and often leave the listener exhilarated. This 12 CD set tries the challenge of surrounding these marvels with some of the most dazzling rediscoveries, offering famous and less famous music, but equally glorious interpretations.

This was something I'd had in mind for a long time..." says pianist Alexandre Tharaud, "to put together an album for the sheer pleasure of it, in collaboration with dear friends and paying tribute to the wonders of the piano duet repertoire." The aptly named 4 Hands offers 18 tracks, each just a few minutes in length, each featuring Tharaud sharing a piano keyboard with a different partner. The repertoire ranges wide - from Bach to Glass by way of such composers as Schubert, Tchaikovsky, Grieg, Fauré, Satie, Debussy, Ravel, Rachmaninoff, Ravel, and Piazzolla. 15 of Tharaud's fellow performers are celebrated pianists - among them the late Nicholas Angelich, Mariam Batsashvili, Bertrand Chamayou, David Fray, Víkingur Ólafsson, and Beatrice Rana. The other three, all stars in their musical fields, are shown in a new, pianistic light: cellist Gautier Capuçon, countertenor Philippe Jaroussky and singer-songwriter Juliette. "The piano duet is one of life's miracles," continues Tharaud. "First and foremost, it is the most intimate way of playing chamber music... It was a joy to record this album... If hearing these pieces prompts people to buy some sheet music and enjoy playing duets together - just as we did in the recording studio - then I will have achieved my aim.

Piotr Anderszewski TITLE: Mozart: Piano Concertos Nos. 25 & 27 This pairing of concertos Nos 25 and 27, recorded with Chamber Orchestra of Europe, is Piotr Anderszewski's third Warner Classics album of Mozart concertos. "In Mozart I tend to prefer to direct from the keyboard," he explains, "His concertos are like chamber works... The piano is in dialogue with the orchestra, conversing and interacting all the time. The two works are very different... No 25 is very grand, complex and sophisticated; No 27, Mozart's final piano concerto, is in a major key, but underneath it I sense an incredible sadness... It always amazes me how deep this music is."

Leif Ove Andsnes is a leading pianist of his time, known for his exceptional musicianship and subtil touch, his considerable technical flair being unfailingly put at the service of his interpretations. He was a pioneer for being the first home-trained superstar pianist to have emerged from Norway. This box is the story of a 20-year partnership that has yielded a rich seam of recorded treasures, first for Virgin and then for EMI. Running through this cornucopia of 34 albums (36 CDs), we find recurring themes: Grieg (Andsnes even recorded some Lyric Pieces on the composer's own piano at Troldhaugen), Nordic music in general, Schumann, Rachmaninov, Schubert.

For five decades Wolfgang Sawallisch (1923-2013) held a central position in the musical world. That centrality was reflected in a series of top orchestral and operatic posts and in his interpretations, free of self-regarding eccentricities. His modest but highly effective conducting technique also made him the ideal recording artist. Sawallisch was a Bavarian born in Munich, city of orchestras and a great opera company, which he headed for 21 years. He started his career as an outstanding pianist and remained a sought-after accompanist to great Lieder singers and instrumentalists. Volume 1 of a complete conspectus of his Warner Classics recordings (made for Electrola and EMI Classics between 1954 to 1997) includes wonderful Lieder and song collaborations, as well as famous concerto accompaniments for eminent soloists and a heartwarming traversal of Schubert's secular vocal and sacred choral music with Bavarian Radio colleagues. But the main focus among the 65 discs is on his symphonic achievements: Beethoven, Schumann, Mendelssohn, Brahms, Bruckner and Dvor�k - the latter's Eighth Symphony was his first published recording, from 1954. Richard Strauss, an early influence, is strongly represented. This 65CD-box brings together all the non-operatic recordings that the German conductor and pianist Wolfgang Sawallisch (1923-2013) made in the years from 1954 to 1997 for EMI Classics and Electrola (now Warner Classics).

This box set comprises all the operas and sacred works Otto Klemperer conducted for EMI Columbia and HMV. Oratorios by Bach, Beethoven, Brahms and Handel are accompanied by operas of Beethoven, Mozart and Wagner. There are also rehearsals and listening playback sessions for the recording of Mozart's Don Giovanni and a Bonus CD with recollections from artists who sang in Klemperer's opera performances. Otto Klemperer deeply loved both the theatricality of opera and the spirituality of oratorios, and these performances from his great Indian Summer represent the fruits of his lifetime of thought and experience in this repertoire.

Today one of the most highly respected string quartets, the Belcea were established in 1994 at the Royal College of Music in London and studied with the Chilingirian, the Amadeus, and later the Alban Berg quartets. Today one of the most highly respected string quartets, the Belcea were established in 1994 at the Royal College of Music in London and studied with the Chilingirian, the Amadeus, and later the Alban Berg quartets. They recorded for EMI Classics across nearly a decade, between 2000 and 2009, bringing about tremendous versions of quartets by Schubert, Britten, Bartók, and Mozart, to name a few.

"The Belcea Quartet throw every fibre of their beings into the most vivid projection of the masterpieces they undertake." - The Independent "These recordings form a crucial part of our life as a quartet and we hope that over the ensuing years they haven't lost their freshness and sense of adventure." - Krzysztof Chorzelski, violist of the Belcea Quartet

Intense, passionate, and impeccable in its musical disciplines, the Berlin-based Artemis Quartet "consistently finds a balance between projecting musical structure and conveying immediacy." Confirming that verdict from the New York Times is this 23CD collection, encompassing all the recordings the ensemble made between 1996 and 2018.

The Artemis Quartet began life in 1989 and developed a particular reputation in the central Austro-German repertoire. If Beethoven justly asserts a powerful presence, the scope of this collection extends as far as Eastern Europe and South America and well into the 20th century. Over the period of nearly a quarter of a century documented in this box, there were changes in the Artemis Quartet's lineup, but as founding cellist Eckart Runge explains, this "brought new inspiration - an opportunity to broaden horizons and introduce fresh ideas."

The ensemble suffered a tragic loss with the untimely death of violist Friedemann Weigle in 2015. Just days earlier, the Artemis had completed a recording of Dvořák's lyrical and poignant 'American' Quartet; it is now released for the very first time. This landmark box is completed by a comprehensive booklet which includes reminiscences from members of the Artemis Quartet and from sound engineers who collaborated with them.

"Mozart is the reason why I became a musician," says flautist Emmanuel Pahud, who - like Mozart - was born on January 27th. He first became captivated by the composer's music when he was just five years old. In the words of the Baltimore Sun he plays it "with an astonishing array of subtly moulded sounds, superb breath control, flawless articulation and, above all, consistently eloquent phrasing." With pianist Éric Le Sage, Pahud performs several Sonatas, which Mozart originally composed for violin and piano.

The fourth volume of the complete recording of all 18 piano sonatas by W. A. Mozart - Mozart, the Traveling Whirlwind - includes the sonata movements in G minor, KV 15p, and Siciliano in D minor, KV 15u, from the London sketchbook of the 8-year-old Mozart; the sonata movement in B-flat major, KV 400/372; and Sonatas Nos. 7, 8, and 9. Michael Wessel combines the insights of historically informed performance practice with the rich, colorful tone of the modern B�sendorfer concert grand piano in a refreshing way: a lively, contrasting mixture of speaking and singing characters.

Jean-Efflam Bovouzet's acclaimed cycle of Mozart's piano concertos reaches it's conclusion with this twelfth volume. The programme offers a suitably celebratory mood: the Overtures to Idomeneo and La finta semplice frame the A major and D major Rondos for piano and orchestra and the Concerto for three pianos, and ends with the double piano concerto. Bavouzet comments: "As one reaches the conclusion of a series of recordings that has stretched over a long period of time, the feeling of fulness at having arrived at one's goal always blends with an immediate sense of nostalgia for the recording sessions, marvellous moments engaged in the search for a truth that always remains beyond reach. After a span of nine years, we arrive at the end of this complete recording project with the devoted members of Manchester Camerata and my friend G�bor Tak�cs-Nagy. G�bor's plan to combine them with operatic overtures was certainly most appealing, but the task of playing the entirety of this enormous corpus of concertos seemed to me gigantic! And then a few considerations very quickly made me conscious that a rare opportunity now presented itself to me, which it would have been ill-advised to pass up: this intense musical fellowship with G�bor and the joy of making music with him, the excellence of the members of Manchester Camerata and their untiring energy and suppleness in accepting our continual musical 'experimentations', and, finally, the wonderful chance for once in my life to have at my side a born, inspiring Mozartian, my wife, Andrea Nemecz."

Olga Pashchenko and Il Gardellino present a third recording of Mozart's piano concertos. Following two volumes (Alpha 726 and 942) that were very well received by the press and the public: 'The most exhilarating "authentic" Mozart I have ever heard,' wrote The Spectator. In January 1776, Mozart composed his Piano Concerto No. 6, followed by the Eighth in April. Then aged 20, he did not want to shock the aristocracy of Salzburg and wrote simple music, but music that transports us 'to the calm gentleness of a paradise garden, in the manner of the Elysian Fields evoked by Gluck and Rameau', as Olivier Messiaen said. Completed on 30 September, 1784, Concerto K 465 remains shrouded in mystery as to when it was first performed. It is thought that Mozart premiered it in February 1785 in Vienna in front of his father Leopold, who wrote to his daughter Maria Anna that Wolfgang had triumphed and that the emperor took off his hat and exclaimed 'bravo Mozart!' As with all her recordings, Olga Pashchenko has chosen appropriate instruments, a copy of an Anton Walter fortepiano (ca. 1792) by Paul McNulty and a copy of a Spath & Schmahl tangent piano (Regensburg, 1794) by Chris Maene.

This is the last release of a six-release album series presenting all violin concertos by Mozart. Together with the the Spanish violinist and conductor Robert Gonzales-Monjas, who is the chief conductor of the Mozarteumorchester Salzburg, the orchestra proves once again it's unrivaled position as interpreters of the Mozart stylistic. The album will be released during the Salzburg Mozartwoche in January 2026

In his new CD recording, Swiss pianist Christian Chamorel focuses on four key works for solo piano by W.A. Mozart: the sonatas in C minor, K. 457; B-flat major, K. 333; and D major, K. 576; as well as the expressive Fantasy in C minor, K. 475, which originate from very different creative phases. Chamorel succeeds in creating a subtle interpretation that brings Mozart's music to life from within. Every phrase, every change in dynamics, articulation, and tempo seems like the result of a well-considered artistic decision and, at the same time, like a spontaneous impulse born directly from the moment.

With four superb albums already setting new artistic benchmarks, the Folkwang Kammerorchester Essen continues it's exploration of the complete symphonic oeuvre of Mozart under the baton of celebrated Mozart specialist Johannes Klumpp. Now this fifth stage of the ensemble's sonic journey brings us Symphonies Nos. 8, 22, 23, and-as a brilliant highlight-the grand Symphony No. 39 in E-flat major. International critics praise these recordings for their "exceptional technical mastery" and hail conductor and orchestra alike as "ideal Mozart interpreters." This release is a testament to the radiant diversity and expressive power of Mozart's symphonic writing.

According to an old tradition, it is perfectly legitimate to arrange works for one instrument to another, if this does not detract from the substance of the work. This is what the young Wolfgang Amadeus Mozart likely told himself when he arranged three piano sonatas by his admired role model Johann Christian Bach into small concertos (KV 107) in his early years. This is also what Silke Aichhorn told herself with equal justification when she arranged one of these pieces for the harp alongside concertos by the German Johann Samuel Schroter, who was almost the same age. The pairing is no coincidence. Mozart and his father both admired the works of Schroter, born in Guben, Lusatia, who enjoyed a distinguished career as a pianist. In 1782, he succeeded the "London Bach" as music teacher to Her Majesty Queen Charlotte - unfortunately not for very long. Schroter died three years before Amadeus and at the same age.

Few musicians shaped the evolution of keyboard writing as profoundly as Wolfgang Amadeus Mozart. His sonatas and concertos aligned technical brilliance with lyrical sensitivity to elevate the piano from largely domestic use to a powerful vehicle for solo and ensemble musicianship. This collection of hidden gems includes pieces spanning early childhood miniatures to complete sonata movements, minuets, a set of variations and a wide variety of incomplete works filled with Mozart's characteristic delicacy, surprise and operatic drama. Vijay Venkatesh's recording of Mozart's Piano Sonata No. 6 can be heard on a digital-only release, 9.70390.

In this captivating album, pianist Saskia Giorgini explores the porous boundaries between chamber music and concerto, weaving a nuanced narrative that connects Mozart's lyrical elegance with Shostakovich's biting wit. Mozart's Piano Concerto in A Major, KV 414, originally conceived for both orchestra and string quartet, reveals it's intimate side in this chamber setting-it's melodic grace and quiet complexity enriched by subtle interplay. In contrast, Shostakovich's Concerto No. 1 for Piano, Trumpet, and Strings bursts with irony and theatrical flair, shifting from parody to poignancy in a flash. The album closes with Shostakovich's Piano Sonata No. 2, a work of stark introspection and formal ingenuity. Written in 1943 and dedicated to his late teacher Leonid Nikolayev, the Sonata carries a subtle, tragic undercurrent as it moves between baroque clarity, melancholic lyricism, and quietly defiant modernism-offering a deeply personal counterpoint to the extroverted brilliance of the concerto. Together, these works trace a lineage of innovation, where form, function, and emotion collide-delivering music that is as emotionally compelling as it is stylistically daring. A pianist of exceptional depth and imagination, Saskia Giorgini, brings her signature refinement to every phrase. Her acclaimed discography with PENTATONE includes Liszt's Harmonies poetiques et religieuses (Diapason d'or, 2021) and Consolations (Gramophone Critics' Choice 2023), both hailed for their poetic insight and technical brilliance. She has also collaborated with tenor Ian Bostridge on celebrated recordings of Schubert's Die schone Mullerin (2020), Respighi Songs (2021), and Twilight Schumann Songs (2025). This release also marks the PENTATONE debut of trumpeter Per Ivarsson, while the Trondheim Soloists return to the label following two previous recordings: Transfigured Night - Haydn/Schoenberg (2018) with Alisa Weilerstein, and Haydn & Stamitz (2020) with Ana de la Vega and Ramon Ortega Quero. With this new album, Giorgini once again confirms her status as one of today's most compelling and versatile pianists.