Mozart wrote his horn concertos, three of them complete and one lacking it's slow movement, for the former Salzburg horn-player Ignaz Leutgeb, who had returned to his native Vienna in 1777.

Mozart was a childhood prodigy, composing from the age of five and performing at royal courts by the age of 10, becoming famous throughout Europe. As an immensely influential composer, his music sits at the very centre of Western musical culture and today casts it's spell over the hearts and minds of music lovers throughout the world. This substantial collection presents the cream of Mozart's imperishable contribution to music through his piano concertos, symphonies, chamber music, operas and choral works. Mozart will always be a key figure in classical music, his signature style with it's clarity, balance and transparency matched by the exceptional power of his finest masterpieces, 30 of which are represented in this great value 2-album collection. The aim of such a collection is to deliver an attractive and entertaining programme with highlights from this great composer's prolific output in acclaimed recordings from our catalogue, while introducing newcomers to the huge variety of Mozart's creativity and provide a springboard for further exploration into every genre of his prolific output.

Laura Aikin, Edgaras Montvidas, Kurt Rydl, Mojca Erdmann, Michael Smallwood, and Steven Van Watermeulen star in this de Nederlandse Opera production of the Mozart opera conducted by Constantinos Carydis.

Mozart: Le Nozze Di Figaro / Barenboim, Tomlinson, Rodgers, Composer: Wolfgang Amadeus Mozart, Performer: John Tomlinson, Phyllis Pancella, Joan Rodgers, Richard Br�nner, Conductor: Daniel Barenboim, Orchestra/Ensemble: Berlin Philharmonic Orchestra, Berlin RIAS Chamber Chorus, "Barenboim continues to favors a forceful, big-scale reading with often deliberate speeds for the slower numbers, a musically accomplished, thought-through account of the crucial finales to Acts 2 and 4, lively treatment of the recitative, finely-honed playing of the wind, alert rhythms and an avoidance for the most part of appoggiaturas... John Tomlinson is much better suited by Figaro than he was by Alfonso, but still wants in tonal focus... but he does at all times create a lively personality, a force to be reckoned with... Sir Geraint Evans is even more individual in his characterization - listen to the recitative before his Act 4 aria - and has the more agile voice, helped by the fact that it tends more towards the baritonal." - Gramophone

The young Wolfgang, aged only 10, composed the oratorio Die Schuldigkeit des ersten Gebots (The Duty of the First Commandment) in 1767 on his return to Salzburg after a fabulous tour of Europe with his father Leopold and his sister. It's rich and varied orchestration reveals Mozart's precocious talent in using instrumentation to enrich the musical narrative and accentuate the emotions of the drama. The libretto depicts a half-hearted Christian who, thanks to Divine Mercy and Justice, is led back to the path of virtue by the Spirit of Christianity, despite the temptations of the Spirit of the world. Camille Delaforge and Il Caravaggio gracefully underline the harmonic skill of this most famous of musicians.

The German Romantic classics - Beethoven, Brahms, and Mahler - had been central to Bruno Walter's middle years, but his life-long devotion to Mozart grew in his “post-retirement” days, beginning in 1958.

From 1958 to 1961, he recorded 55 works in the reverberant acoustic of Hollywood's American Legion Auditorium. Only the chorale finale of Beethoven's Ninth proved unsatisfactory, so Walter made one more trip to New York, this time with an East Coast version of the Columbia Symphony and the Westminster Symphonic Choir.

This box set of stereo recordings - with remasterings previously released in Bruno Walter - The Complete Columbia Album Collection - brings together some of the most treasured symphonic works of Mozart and Haydn, including two of Mozart's violin concertos played by the great French virtuoso Zino Francescatti.

This concert recording from Mozart Week 2024 focuses on Wolfgang Amade Mozart's and Anton Reicha's horn quintets, two major works of a genre that has been very rarely cultivated throughout music history. After the Prague-born composer, music theorist and pedagogue Anton Reicha had already briefly tried his luck in Paris in 1799, he finally settled in the French metropolis in 1808. The Horn Quintet in E major op. 106 is one of his last compositions. It is juxtaposed with Mozart's Rondo and the Horn Quintet. The Baborak Ensemble played at this year's Mozart Week in Salzburg, where this recording was made.

Second of three instalments in this�Lazic-de Vriend-Bergen Philharmonic unique project. Famous Concertos nos. 21 & 9 are alongside the Rondo K. 382. Once more all candenza and leads-in are inventive creations by�Lazic. Fanfare (USA):�I find Lazic and de Vriend's K 449 quite exhilarating and rate it an unmitigated success. Classica (FR):�In total: a record of quite astonishing eloquence. Luister (NL): Recommended.

I think of fantasy as a creative force that has united composers across the centuries, to which each composer has miraculously had access, then transposed it over time. In each composer we find characteristics typical of the time in which he lived, others typical of the composer, and sometimes phrases, ideas, fragments, which seem to come out of time and space, into another dimension compared to everyday life. Here is where the genius lives, where the connection with the devine, through the creative force of fantasy, allowed the composers to go beyond their human nature." Margherita Santi

Complete Chamber Works For Bas

Sinfonia Concertante, Viola Co

An Opera Evening with Hannelore Kuhse

Piano Concertos No. 9 & 25, Ro

Piano Concertos No. 23 & 24

Piano Concertos No. 21 & 22