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Mozart wrote La finta giardiniera in 1775 when he was 18 years old. It was his first staged buffo opera and centres on the lovers at the heart of the action, Sandrina – the pretend garden-girl of the title – and Belfiore. With few ensembles, Mozart channels his most intense and expressive music into arias which demonstrate a masterful ability to convey the full range of tenderness and passion. Originally staged at Glyndebourne in 2014 by Frederic Wake-Walker, this 2018 revival from La Scala is performed on period instruments with a strong cast and expertly conducted with exuberance and charm by Diego Fasolis.

Capella Istropolitana orchestra under the leading of conductors Wolfgang Sobotka and Harald Nerat perform MOZART's: Eine kleine Nachtmusik / Serenata Notturna / Divertimento.

The Arcana label continues its fruitful collaboration with the Archi di Santa Cecilia, the Rome-based ensemble formed from members of the famous Orchestra of the Accademia Nazionale di Santa Cecilia. The ensemble is conducted by Luigi Piovano, the orchestra’s principal cellist and since 2007 a regular partner in a cello-piano duo with Sir Antonio Pappano, its chief conductor (their recording of the Brahms cello sonatas will be released later this year). The Archi di Santa Cecilia now offer us a brand new recording devoted to Mozart: the famous Serenade Eine kleine Nachtmusik K525 and the less familiar but equally brilliant Divertimenti K136, K137 and K138. The combination of such luminous music and the virtuoso skill of the players is bound to elicit enormous enthusiasm. Their previous recording of the Tchaikovsky and Dvorák Serenades met with outstanding acclaim, leading Janos Gardonyi in the Canadian magazine The Whole Note to describe the relationship between Piovano and his group in the following terms: ‘I imagine the orchestra moves with him and his every gesture. A tremendous rapport, like hypnosis, that only a Gergiev, Ozawa, Solti or the great Karajan could muster.’

Until the advent of recordings, the way you got to know the music of the masters was to play them yourself. The expansion of domestic music-making at the beginning of the nineteenth century generated a huge market for arrangements, most of them for piano solo or duet. Mozart was a special favorite, and this programme extends the basic premise by arranging some of those pieces for organ as well as presenting some contemporary arrangements and completions, recorded on an organ of Mozart's own day. Zeno Bianchini was born in Verona and grew up in a family of scientists. His great-grandfather’s brother was the respected doctor Severino Bianchini, whose patients included Giacomo Puccini and the poet Giovanni Pascoli. Zeno played the organ in Verona Cathedral from an early age. Studies in Baroque organ, harpsichord, historic performing practice, musicology, composition, church music and conducting followed in Verona, Pistoia, Padua, Trossingen and Freiburg im Breisgau. He also trained as an organ expert. He worked in Donaueschingen from 2003 to 2009, and then moved to Stockach on Lake Constance, where he is cantor and organist at the Church of St Oswald. The Swiss musician and musicologist Christian Lambour was born into a Breton Huguenot family in The Hague, where he began his studies in historic keyboard instruments, which he continued in Vienna. His recitals have featured premieres of works by Fanny Hensel, Eusebius Mandyczewski, Frank Martin and Sir Hubert Parry. His compositions include the cantata Jerusalem, Triptychon for Edith Stein for flute and organ, Le Tombeau de Jehan Alain for organ, works for piano, a fantasy on the Dutch national anthem ‘Wilhelmus’ for harpsichord and a recent setting of Dietrich Bonhoeffer’s Von guten Mächten. His album AlmostMozart was released by Koch Schwann in 1991 for the Mozart bicentenary celebrations. He lives in Vienna and on Lake Constance.

The 1967 performance of Schubert's "Trout" Quintet is the most fascinating offering, largely because the musicians play with great cohesion yet maintain distinctive parts without shaking the ensemble's equilibrium. Rudolf Serkin is clearly the leader, but his playing never upstages the sturdy quartet of Jaime Laredo, Philipp Naegele, Leslie Parnas, and Julius Levine, an enthusiastic group that rises to the work's challenges and Serkin's inspired promptings. Mozart's Clarinet Quintet, performed in 1968, is a little less engrossing, though it shares with the Schubert a similar balance of distinctive lines and bonded ensemble playing.

-- Blair Sanderson, AllMusic.com

This album contains three works by Wolfgang Amadeus Mozart, two of which can be considered among the most popular in the history of music. The version of the Sinfonia concertante in E-flat Major KV 364/320d with the participation of the cello, presented on the album as the first item, sheds new light on this outstanding showcase of the Classical era, which makes it possible to look at the numerous melodic and contrapuntal relationships of the soloists from a new, refreshed perspective. The Duo in G Major for violin and viola KV 423, in which the parts of both instrumentalists can be considered almost equal, is entirely characterized by considerable rhythmic freedom, influencing expression and rhythm in the outer parts and the fluency of narration in the middle one. The album is completed by the Symphony in A Major KV 201/186a, considered one of the most mature works of young Mozart. The piece impresses with its unique formal clarity and textural and polyphonic richness; it is also one of the most outstanding manifestations of genius in relation to the entire oeuvre of the composer. The unique cast and unconventional interpretations of Karolina Nowotczynska, Marcin Zdunik and the Elblag Chamber Orchestra conducted by Marek Mos allow us to rediscover the most important works of Wolfgang Amadeus Mozart.

With the recordings on this album, the Armida Quartet has reached the halfway mark in a project that seeks to intimately explore an entire mountain range: Mozart’s complete works for string quartet, to which they devote intense scrutiny within the framework of a recital series that pairs them with contemporary works specifically commissioned for the occasion. This requires our musicians to pay a particularly attentive ear: history remains unscathed, but the members of the Armida Quartet want to call ingrained listening habits into question. By implication, they explore Mozart’s works as if the composer was looking over their shoulder. In collaboration with Henle music publishers and musicologist Wolf-Dieter Seiffert, they have embarked on a “workshop exploration” of Mozart’s string quartets in the original manuscript. The occasional discovery of certain hitherto overlooked details leads them to interpret certain passages in exciting new ways. All the while, they gain increasing familiarity and assurance as they delve ever more deeply into the master’s musical language. The sources also confirm something that Mozart alluded to in his dedication of the six “Haydn” Quartets to his revered colleague: the fact that the work of composing can be painstaking, at times laborious.

Featuring sensitive interpretations and a dazzling orchestral accompaniment, this release includes Four Mozart piano concertos punctuated by smaller Mozart tunes. Award-winning pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career. He regularly works with orchestras such as The Cleveland Orchestra, San Francisco Symphony, London Philharmonic, BBC Symphony and NHK Symphony orchestras, and collaborates with conductors including Vladimir Ashkenazy, Vladimir Jurowski, Gianandrea Noseda, François- Xavier Roth, Nicholas Collon, Gábor Takács-Nagy and Sir Andrew Davis amongst others. Bavouzet records exclusively for Chandos and his recording of Grieg’s Piano Concerto with Bergen Philharmonic under Edward Gardner has been nominated for the Concerto category of the 2018 Gramophone Awards. Together with Manchester Camerata and Gábor Takács-Nagy, Bavouzet has recorded several of Haydn’s Piano Concertos and embarked on the present series of Mozart concertos, which have been critically acclaimed.

As a pianist, Mozart performed at many concerts and music academies, for which he had to build a repertoire; similarly, he was in need of educational repertoire for his students. Between 1782 and 1786, Mozart composed, in addition to piano sonatas and variations, fourteen new concertos for piano with orchestra. He was certainly no novice in this field, already having no less than ten piano concertos under his belt (not to mention his violin concertos and his first collection of concertos for wind instruments). As such, Mozart’s Vienna period begins with a remarkable trio of piano concertos, K. 413, 414 and 415. Mozart undoubtedly wrote them for himself. His concert activity in Vienna was extraordinary, especially in the first years, where he met with success as both a soloist and as a composer. He therefore decided to publish this trio at his own expense (on a subscription basis), obviously with an eye towards having another source of income.

Sir Colin Davis’ sensitivity is effortlessly mirrored by Larrocha with her enviable ease, her avoidance of all artifice or attention-seeking dalliance. Few other pianists are more attuned to Mozart’s mix of pain and radiance.

Alicia de Larrocha’s and Sir Colin Davis’s Mozart concerto cycle, while rarely less than distinguished, grows in stature with each new issue. Indeed, so musicianly and distilled are both these performances that the casual listener is in danger of taking them for granted, mistaking their classic sobriety for monotony and their devotion for a monochrome quality.

Sir Colin’s unforced way with the opening tutti of K595, his awareness of “all passion spent” is haunting but unobtrusive. Such sensitivity is effortlessly mirrored by Larrocha with her enviable ease, her avoidance of all artifice or attention-seeking dalliance. Few other pianists are more attuned to Mozart’s mix of pain and radiance, of the subtle major-minor shifts commencing at 6'34'' and, throughout, her economy ensures that every passing mood is unmistakably yet unobtrusively registered. Again, tempos are ideal whether in K595’s gently paced final Allegro (less idiosyncratically slow or autumnal than from Kempff on DG) or in the central Allegretto of K459. Even in the finale’s opera buffa high-jinks she captures the music’s undertow, a poise and equanimity like “the still point of the turning world”.

Balance and sound (grainy but apt) are exemplary, and this issue is graced with a fine portrait of the pianist by Christian Steiner.'

-- Bryce Morrison, Gramophone [12/1997]

Marc Minkowski and Les Musiciens du Louvre present a new recording of Mozart’s Mass in C Minor, the iconic opening Kyrie of which is among the most cherished religious music ever written. Mozart performed parts of the Mass in 1783, but the score remained unfinished, making the use of a scholarly edition necessary for a complete performance. Despite its unfinished state, Mozart’s Mass in C Minor has gained popularity and now enjoys a place in the choral core repertory. For this recording, made in connection to live performances, Minkowski has chosen Helmut Eder’s 1985 edition for the Neue Mozart-Ausgabe. He performs it in a chamber-like setting with his regular ensemble Les Musiciens du Louvre, a small ripieno choir and four outstanding soloists: Ana Maria Labin, Ambroisine Bré, Stanislas de Barbeyrac and Norman Patzke. Since its foundation in 1982, and under the baton of its founder and musical director Marc Minkowski, Les Musiciens du Louvre have developed into one of the world’s best period-instrument ensembles, with a vast discography. This recording marks their PENTATONE debut.

A special, connecting and autobiographical element for this recording is the beautiful city of Salzburg, a place steeped in legend and music history, which became the hometown of all those involved in the production - from the composer to the conductor, the soloist to the orchestra musicians and the orchestra director - at least for an important period of their lives; in the actual as well as in the artistic sense. In addition to well-known repertoire, Rafael Fingerlos' recording also offers delightful trouvailles such as the rarely performed aria of Allazim from Zaide "Nur mutig mein Herze! ", the little concert aria Un bacio di mano and even a veritable world premiere recording: the so rarely performed and extremely Mozartian-daredevil cabaletta of the Conte Aria, comprising fourteen (!) high Gs, which Mozart composed especially for the Conte singer in the Viennese Figaro premiere. Beautiful, virtuosic, wild and spectacular. The following applies to this recording: less is more. Less editing, always opting for natural and musical phrasing. And the aim is always to achieve a sound that is as close as possible to the live experience and that can also be reproduced in concert at any time. As authentic and above all as natural as possible.

Better known as Gran Partita, Mozart’s Serenade in B-flat major, K 361 is the crowning glory of the Harmoniemusik of the Classical era. Austrian and German nobles in particular often employed small wind ensembles called Harmonien which provided entertainment during banquets and outdoor festivities. In order to satisfy the growing demand for suitable music, countless arrangements of operas and ballet music were made, while original works were supplied by a wide range of composers – Haydn, Beethoven, Schubert and many lesser masters wrote Harmoniemusik. Among their works, Mozart’s Serenade stands out for several reasons. It is on a larger scale than most: with seven movements and a duration of some 50 minutes, it is scored for thirteen instruments rather than the usual eight or nine. But conceived with a cyclical layout and with a highly economic use of motivic material, it also displays a compositional sophistication unusual for the genre. The Gran Partita is here performed by wind players from one of the world’s finest orchestras, the Amsterdam Concertgebouworkest, under the direction of oboist Alexei Ogrintchouk. Ogrintchouk has also chosen the coupling, a set of variations by Beethoven on Mozart’s famous aria from Don Giovanni scored for two oboes and English horn.

REVIEW:

As in all the best performances, the wind players of the Concertgebouw (the brand speaks for itself) combine refinement of blend and ensemble with a sense of spontaneous enjoyment. When they choose, the Concertgebouw players are as mellifluous as you could wish. But they’re not afraid of a touch of abrasiveness. This superlatively played new recording immediately joins the shortlist for this most sumptuous of serenades.

– Gramophone (Editor's Choice, January 2021)

Mozart’s Don Giovanni is a staple of operatic repertoire. The two-act opera is tenth on the Operabase list of the most-performed operas worldwide. Don Giovanni is based on the legends of Don Juan, a fictional womanizer and seducer, and has a libretto by Lorenzo Da Ponte. This release is a recording from 1985, conducted by Rafael Kubelik. One of the last century’s most revered conductors, Kubelik only made a few complete opera sets, and this opera is the only Mozart among them. Alan Titus performs as Giovanni. Opera magazine praises him as he “generates lively spirit in his scenes with Rolando Panerai, a Leporello into in 60s but still able to inflect his lines with verbal point as well as expressive colour: the Catalogue aria is quite masterful in its slightly seedy relish.”

A classic story of love under the microscope is given a contemporary perspective in this performance of Mozart’s “school for lovers”. Così fan tutte is a compassionate examination of young love, full of wit and wonderful music which ensure its lasting popularity. Così fan tutte was Mozart’s final collaboration with the Italian librettist Lorenzo da Ponte, and Jonathan Miller’s production, created for The Royal Opera, brings out the timelessness of this exploration of the human condition. Jonathan Miller’s Royal Opera production of Cosi fan tutte was a staple of the repertory for nearly twenty years. He died in 2019.