Wolfgang Amadeus Mozart
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Opera Explained - Introduction To Mozart: Marriage Of Figaro
by Thomson Smillie and narrated by David Timson.
Mozart: Donaueschingen Harmoniemusik K 384 / Blomhert, Asmf
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Franco Gulli, Vol.1: Mozart with Bruno Giuranna
The Marriage Of Figaro (Highlights) / Pace, Ionata, Et Al
LE NOZZE DI FIGARO
Opera Explained - An Introduction To Mozart: The Magic Flute
Smillie. Excerpts from the Naxos recording of "The Magic Flute" (Naxos 8-660030/31) are used in this recording to illustrate passages from Smillies's text.
MOZART: Mass No. 18 in C minor, K. 427, 'Great' / Kyrie in D
Mozart: 16 Sonatas for Violin & Piano
Mozart: Complete Piano Sonatas / Würtz
Brilliant Classics proudly presents the 5-album sets series: QUINTESSENCE, attractively priced compact box sets containing essential core classical repertoire in outstanding performances. Aimed at attracting both the discerning classical connoisseur and the classical newcomer it presents the pillars of classical music freshly packaged with eye-catching colorful and booklets containing liner notes in English. A new series at an unbeatable price!
The present installment features Mozart’s complete piano sonatas, performed by pianist Klara Würtz.
Excerpt from a review of a previously released edition of this set:
The Hungarian pianist Klára Würtz's Mozart performances here are, in a word, miraculous. Listening to this set left me almost speechless. By the time I finished auditioning just the first six sonatas, I knew that Würtz’s Mozart was something special. Highest recommendation.
-- Jeffrey J. Lipscomb, FANFARE
Vocal Recital: Ludwig, Walther - MOZART, W.A. / DONIZETTI, G
Mozart: Die Schuldigkeit Des Ersten Gebots / Ian Page, Classical Opera
The story follows the efforts of The Spirit of Christianity (Andrew Kennedy) – aided by Divine Justice (Cora Burggraaf ) and Divine Mercy (Sarah Fox) – to win back the heart of a Lapsed Christian (Allan Clayton) as he lies fast asleep. In opposition to this however stands The Spirit of Worldliness (Sophie Bevan), who urges the Christian to forget what The Spirit shows him and to follow her pleasure-seeking philosophies. As Justice and Mercy withdraw to observe, The Spirit of Christianity seeks to win back the lapsed Christian, but will this lost soul be able to resist the temptations of indulgence and short-term satisfaction that Worldliness offers?
The second disc in this 2CD Set is an Enhanced CD, with an exclusive 10-minute feature on the making of the recording additional libretto and programme note translations. Full German to English translations included in the booklet.
YOUTH SYMPHONIES
Mozart: Clarinet Concerto, Clarinet Quintet / Frost

In the liner notes to this disc, Swedish clarinetist Martin Fröst is described as a "daring performer" who has "stretched the limits of musical expression", likely owing to his frequent collaborations with several contemporary composers including Anders Hillborg and Krzysztof Penderecki. "Daring" does not leap to mind when describing Mozart, and happily Fröst himself does not flaunt his presumed reputation when tackling these popular works. While some may find Fröst's readings on the "cool" side, it is largely because they are just so perfectly executed and pristine that you are left hopelessly grasping for something that might be missing. After all, what ultimately determines Mozartian performance standards but the expectation of technical perfection? In no small part aided by the redoubtable Amsterdam Sinfonietta and Vertavo String Quartet, Fröst steals the show with his sultry tone, sensitive phrasing, and utterly beguiling pianissimos, momentarily making us forget that several other great performances of the Concerto have graced the catalog for decades.
Fröst's tasteful choice of the basset clarinet in the Concerto (for which the work was originally conceived) provides an added bonus, thanks to the instrument's rich, dark-hued sonority. Fröst is truly at his best in the slow movements of these works where his uncanny dynamic control is on ample display, particularly in the short cadenza of the Concerto and in the scale passages in the Quintet that connect the main themes of the Larghetto (kudos to the fine Vertavos for providing just the right amount of intimacy to the ensemble balance). The outer movements are equally satisfying, played with appropriate jauntiness, flair, and expert technique by all concerned.
Of course, the sonics bear some attention as these works receive their debut here in the new multi-channel SACD medium. In this 5.0 DSD recording the engineers were quite careful not to overexpose the surround channels, which are unobtrusive beyond adding minimal ambience to the overall soundstage. Balances are uniformly excellent, with the soloist never sounding boomy or overbearing. Otherwise, this recording boasts the natural sound for which BIS is famous, and its inherent qualities are heard to similarly pleasing effect in stereo (CD and SACD alike). This is a first-rate and welcome entrant in a decidedly crowded field, as close to perfection as we have any right to expect.
--Michael Liebowitz, ClassicsToday.com
Mozart: Piano Concertos Nos. 10 And 24 (Arr. Hummel For Cham
Mozart : Piano Sonatas Nos 10 & 11 & 12 / Ogawa
MOZART Piano Sonatas: No. 10 in C, K 330; No. 11 in A, K 331; No. 12 in F, K 332 • Noriko Ogawa (pn) • BIS 1985 (SACD: 76: 00)
Japanese pianist Noriko Ogawa has appeared in these pages several times in repertoire ranging from Beethoven to Takemitsu. This, however, is her first foray on disc into Mozart. I suppose there’s a degree of pertinence to Ogawa’s selection of these three sonatas for her Mozart debut, since it’s now believed that they were the first piano sonatas Mozart composed after his permanent move to Vienna in 1781. Some older sources, however, still suggest the late 1770s and Salzburg or even Paris as the time and place of their composition. The middle sonata of the set, No. 11, popularly known as “Alla Turca” for its last movement’s “Turkish”-themed Rondo, is the most unusual of the three works, not because of the Rondo but because the sonata is homotonal—i.e., all three movements are in either A Major or A Minor, thus having the same tonic. If you prefer hearing these pieces on a modern Steinway grand—and I do—it’s hard to imagine them being played any more sensitively, charmingly, expressively, and stylishly than they are here by Noriko Ogawa. The combination of BIS’s crystalline recording and Ogawa’s exceptionally limpid touch and pellucid tone makes this a winning entry in the Mozart piano sonata catalog. Recommended to all Mozart lovers, except those who are unalterably opposed to hearing this music played on anything other than a period fortepiano.
FANFARE: Jerry Dubins
DON GIOVANNI
Mozart: Lucio Silla
Mozart: The Complete Piano Sonatas / Ronald Brautigam

Previously available on six single CDs, BIS offers Ronald Brautigam's Mozart Sonata cycle in one package. While the music easily could have fit on five discs, you still get six for the price of three. It's wonderfully worth it. To be sure, Brautigam's Paul McNulty fortepiano (modeled after an Anton-Gabriel Walter instrument circa 1795) doesn't match the timbral differentiation between registers we often encounter from other fortepianos. It has the advantage, however, of a clear, resonant sound and, praise be, it holds its tuning. Brautigam's imaginative interpretations capture Mozart's many moods, from the gallant style of the six earliest sonatas to the tensile drama and operatic leanings of the A minor (K. 310) and C minor Fantasia and Sonata (K. 457 and 475). Sometimes Brautigam's tapered diminuendos seem a bit arch and unnatural. At least his occasional mannerisms don't emerge as interpretive tics. If you're looking for a reasonably priced Mozart Sonata cycle played on a period instrument, look no further. Excellent sound and annotations, too. --Jed Distler, ClassicsToday.com
MOZART MEETS CUBA
Mozart: Great Mass in C Minor & Exsultate jubilate / Suzuki, Bach Collegium Japan

Following on the 2015 release of Mozart’s Requiem, Masaaki Suzuki and his Bach Collegium Japan has gone on to record the composers Mass in C minor, K427 – the ‘Great Mass’. As the nickname indicates it is a work of unusual proportions for a mass of the Classical period – or would have been so, had Mozart completed it. It is not known for what occasion Mozart intended the work, but a letter to his father Leopold dated 4 January 1783 indicate that he may have committed himself to writing it in connection with his marriage to Constanze and a planned visit to Salzburg. A performance of parts of the Mass did take place in Salzburg in October 1783, with Constanze performing the prominent soprano part. Two years later Mozart reused the music from the Kyrie and Gloria sections in the sacred cantata Davidde penitente, K?469, but the Mass itself was left incomplete. The present performance includes the sections completed by Mozart himself, as well as those sections for which extensive sketches by Mozart provided a basis for completion (by Franz Beyer in 1989). Three of Suzuki’s soloists also took part in the recording of the Requiem, while the Dutch mezzo-soprano Olivia Vermeulen makes her first appearance on BIS, shining in the aria Laudamus te. The disc closes with the celebrated cantata Exsultate, jubilate in which the soprano Carolyn Sampson glitters in the virtuosic solo part. As an appendix to the programme she and the Bach Collegium Japan orchestra also repeats the initial aria, in a less well-known later version with a slightly different text and with flutes replacing the oboes of the original.
Mozart, W.A.: Piano Concertos Nos. 17, 18, 19, 25
Orchestral Music - ROSSINI, G. / MOZART, W.A. / BERLIOZ, H.
