The sixteenth volume of the 'Next Generation Mozart Soloists' series-the penultimate instalment in this collection dedicated to the younger generation of performers, produced in collaboration with the Orpheum Foundation-is fast becoming iconic. This instalment features a unique and already highly acclaimed soloist: the French pianist Marie-Ange Nguci. Under the baton of Howard Griffiths, she has recorded two of Mozart's major concertos, including the Concerto in D minor KV 466, the first piano concerto Mozart composed in a minor key, dated 10 February 1785 and performed the very next day to great acclaim by Mozart himself on a pedal piano played in a similar way to an organ. The programme also features the Concerto in E-flat major KV 482, composed at the end of that same year, 1785.

The fourth instalment in The Mozartists' projected seven-volume series, conducted by Ian Page, pairs two turbulent minor-key symphonies by Kraus and Haydn with operatic scenes featuring soprano Alexandra Lowe. Kraus's rarely heard Symphony in C minor, which Haydn predicted would be regarded as a masterpiece for centuries, sits alongside Haydn's own celebrated Farewell Symphony. Lowe brings both fire and pathos to arias from Antigona by Traetta and La finta giardiniera by Mozart, and to the climactic scene from Benda's melodrama Medea, a work Mozart so admired that he briefly hailed it as the future of opera.

The soprano (and ukulele player) Agathe Peyrat and the accordionist (and singer) Pierre Cussac form a unique duo, free-spirited and open to blending genres. In this programme, they embrace a classical repertoire, while putting their own spin on it "by turning the pieces into songs, with night and day as the theme." We discover an astonishing version of Mozart's Queen of the Night, melodies and opera arias by Debussy, Bizet, Saint-Saens, Puccini, Delibes and Wagner, as well as songs by Maurice Yvain, Charles Trenet, Andre Minvielle and Brigitte Fontaine, all arranged by the two artists, who play with every nuance between black and white, darkness and light: 'On this recording, light represents the great joy we feel when we play together - a joy we love to share."

Dr. Jerzy Kosmala, internationally acclaimed as a concert violist and pedagogue, has concertized throughout Europe, the former Soviet Union, Canada, North and South America, Asia, and South Africa, and has recordings on several record labels. He is a frequent guest artist and performer at the world's foremost Festivals, International Viola Congresses, Universities and Academies, and is a permanent jury member of virtually all of the most prestigious international competitions, including the Lionel Tertis, Geneva, Munich, Markneukirchen, Trapani, Primrose Viola Competition, Brahms Viola Competition, and the Concert Artist Guild International Competition in New York City.

Few conductors of Klaus Tennstedt's generation demonstrated such complete mastery of the Classical and Romantic repertoire from Beethoven to Mahler and Strauss, coupled with an intensity in live performance that was palpable. He was among the finest German conductors to emerge after the Second World War and was in constant demand with such orchestras as the New York Philharmonic the Boston Symphony, the Berlin Philharmonic and the London Philharmonic. Doremi's 8th volume of live recordings of Klaus Tennstedt feature symphonies by Haydn (No. 103 "Drumroll"), Mozart (No. 36 "Linz") and Tchaikovsky (the Pathetique), together with Janacek's Sinfonietta and Mozart's Piano Concerto No.26 with Bruno Leonardo Gelber.

There are projects that spring from a hunch and which, driven by conviction and hard work, eventually come to seem entirely natural. The 'Messes Breves' project is a bold initiative that brings together works rarely performed together, breathing new life into pieces that are all too seldom heard in concert or on record. To bring together on the same recording the Missa brevis in D minor of Mozart, the Orgelmesse of Haydn and the Missa brevis of Fabian Fiorini, a work commissioned especially for this project, manifests the desire to abandon a well-worn track and promote a repertory that is as demanding as it is profoundly alive. This condensed form, rich in emotion, encourages spiritual reflection, aesthetic appreciation and a deep connection with the timeless tradition of sacred music.

A very special grand wind ensemble piece, composed by Mr. Mozart' has been performed for this recording by wind players (and a double bass) of the orchestra of the Wiener Symphoniker under the baton of Milan Turkovic. The work being mentioned is Mozarts Wind Serenade No. 10 in B-flat major, K. 361, widely known as the 'Gran Partita'. The 'very special'-ness of this piece was not only awed-inspiring to contemporary audiences; until today the listener is filled with awe-stricken silence by the uncomparable stylistic variety, the grand musical arc spanning over seven movements and the extraordinary Mozartian melodic riches like with hardly any other work of musical history. Contributing to the impression of the work itself is the performer's unmatched expertise with interpreting Mozart and their Viennese playing wit which is audible with every single note.

Ivan Fischer and Channel Classics release a recording of Mozart's Don Giovanni with the Budapest Festival Orchestra. Recorded live in October 2025 at the spectacular Teatro Olimpico in Vicenza, this is the first volume of a Mozart trilogy, with The Magic Flute and The Marriage of Figaro to follow in the coming years. With a dream duo (Andre Schuen as Don Giovanni and Luca Pisaroni as Leporello) and a first-rate cast, Ivan Fischer presents his vision of Mozart's masterpiece: 'In a nutshell the first two bars of this opera describe the story: the fight between order and rebellion. The basses repeat their constant bottom note three times, finally overpowering the revolutionary syncopations of the violins. The energetic, defiant violin notes represent Don Giovanni, the man, who doesn't accept any rules, who doesn't know limits. He follows his own instincts, uses and misuses his power, his wealth, his servant, to follow one goal only: his passion. On this journey he kills, he hurts, damages others, without any remorse or even second thoughts. He is perfectly free, happy, liberated from inner doubts and outer control, from all the regulations of what we call morality.'

It was during his stay in Mannheim between October 1777 and March 1778 that Mozart received commissions for two string quartets with flute (K. 285 and K. 285a), an instrument that was in vogue at the time, likely because Prince-Elector Karl Theodor of Bavaria played the flute as an amateur in the capital of the Palatinate. A graphological study indicates that the quartet K. 285b was likely composed in 1786-87 in Vienna These works hold a special place in Anna Besson's heart, as the flutist performed them during one of her very first concerts on tour at the age of fifteen She was keen to include Hoffmeister's arrangement of sonata K311 'for the beauty of it's central movement and the extreme delicacy with which the publisher, a great friend of Mozart's, took the two hands of the keyboard and gracefully redistributed them between the flute and the strings.'

Mozart's piano trios mark a decisive moment in the evolution of chamber music, elevating the genre to new artistic heights. This critically acclaimed complete recording by the world-class ensemble Trio Parnassus captures that transformation with intellectual rigour and musical sensitivity. Both celebrated masterpieces and lesser-known fragments are presented in this thoughtfully curated edition, setting a benchmark for quality and artistic vision.

A rare gem of a recording originally released on the Barclay label - first-ever CD & digital releases. Mozart's Die Zauberflote with an incredible cast led by Kiri Te Kanawa, Peter Hofmann, Edita Gruberova, Kathleen Battle, Kurt Moll and Jose Van Dam. 2 CD multipack with 100 page perfect bound book with original text and libretto in German, French & English.

KEYBOARD MUSIC 7

Following the success of her albums of Romantic and Late Romantic repertoire, Vilde Frang has recorded Mozart's Concertos Nos. 1 and 5 Turkish and the Sinfonia Concertante K364, enabling music lovers to hear the Norwegian violinist perform Classical repertoire on disc for the first time. The impetus for this album was a 2012 orchestral tour of Asia conducted by Jonathan Cohen in which Vilde performed Mozart's Violin Concerto No. 5. The vibrancy of their musical collaboration was something both artists were keen to repeat and commit to disc. Vilde Frang is joined by Jonathan's Cohen's chamber orchestra, Arcangelo, and by violist Maxim Rysanov in the Sinfonia Concertante.

Mozart was a master at capturing the spirits of the instruments for which he wrote. This skill is perfectly exemplified here in the lighter-than-air Flute Concerto No.2, the sprightly and playful Bassoon Concerto and the interplay of the four soloists in the Sinfonia Concertante. These three exceptional works come to life in this studio recording with featuring soloists of the London Philharmonic Orchestra and Principal Conductor Vladimir Jurowski.

REQUIEM

GRAN PARTITA

All tracks have been digitally mastered using 24-bit technology.

This is a DSD (Direct Stream Digital) recording

This is a DSD (Direct Stream Digital) recording

From Another World is more than an album title : it's an invitation to travel across centuries, continents, and emotions. At it's heart lies an encounter between two musical traditions: the elegance and architecture of European classical music and the expressive pulse of Argentine tango. Bridging these worlds is Guttman Tango Quintet, formed by musicians who draw naturally from both traditions under the direction of violinist Michael Guttman. In From Another World, tango is not nostalgia. It is evolution. Just as Astor Piazzolla once liberated tango from the dance hall into the concert hall, Guttman dialogues with the classics that shaped Western music. Each track on this album begins with a familiar theme (Beethoven, Mozart, Mahler, Dvorak, and others) and let's it wander into Buenos Aires. What emerges is neither parody nor pastiche, but a transformation. Recorded in January 2025 at the Queen Elisabeth Music Chapel, this debut album captures a moment of creative alchemy, an ensemble of classical virtuosos surrendering to the irresistible gravity of tango.

SYMPHONIES NOS. 40 & 41

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.

Mozart: Divertimento, K. 334, Al desio di chi t'adora, K. 57

This is playing of distinction. With all 13 players being of the highest quality and Mehta at his sympathetic best, everything unfolds impressively, with a sense of joy in the music-making.

A big work, this, written for the kind of wind ensemble that became popular during the 1780s at the Austrian imperial court and its aristocratic imitators. In fact, the usual combination was of pairs of oboes, clarinets, horns and bassoons, but here Mozart adds two more horns, a pair of bassett horns and a double-bass; the effect is thus even more massive, although his mastery of texture is such that it never feels overblown and a contemporary described this piece as "herrlich und gross, trefflich und her", which the insert-note here translates as "glorious and grand, excellent and sublime".

Since the 13 players here are of the highest quality and Mehta is a sympathetic conductor, everything unfolds impressively, and there is a sense of joy in the music-making. Over and over, I find this playing natural, easy without slickness and expressive (sometimes even passionate) without mannerism. To experience the blend of weight and grace that the music and performance offer, listen to the first Minuet, the second of the five movements. The tempo is just right and the shaping of phrases (not least in the delicately scored first trio and the bouncy secondone) elegant. Altogether, this is playing of distinction. As for the sound of the Adagio which follows, the music which awed Salieri in Shaffer's play Amadeus, this is no less poised. Indeed, here is an excellent performance that is complemented by a clear and atmospheric recording made in the Berlin Philharmonie. Strongly recommended and earning first place among current versions.

-- Gramophone [9/1995]

Mozart: Piano Concertos Nos. 21 & 26

Jascha Heifetz was larger than life, but was he too big for Mozart? The stern patrician of the violin, with his intense, laser-beam intonation and diamond-hard tone, would seem ideally suited for the big romantic concertos for which he was famous, but any fears that he would be mismatched with Mozart will be allayed immediately upon hearing his serene entry in the first movement of the "Turkish" Concerto, not to mention the delicate interplay that follows, by turns witty and sensuous. For the only time in his career, Heifetz is both conductor and soloist, making this the most involving of his recordings of the work.
Unlike many virtuosos of his time, Heifetz had no qualms about appearing publicly in chamber ensembles. And, with violist William Primrose and cellist Gregor Piatigorsky, he formed a sort of permanent yet flexible supergroup that gave regular concerts in Los Angeles throughout the 1960s. These players, along with violist Virginia Majewski and legendary Hollywood session violinist Israel Baker, are heard in the G minor String Quintet, a work with intimations of the 19th century, here given a taut, urgent, almost Beethovenesque performance.

MOZART: SINFONIA CONCERTANTE,

MOZART: SYMPHONIES NOS 38, 39,

MOZART: COMPLETE STRING QUINTE