Idil Biret who arrived in Paris at the age of seven and a half, unable to read music but playing Mozart's C major concerto as she will never play better. It was played by a great artist who happened to be a little girl who could not read music. One played her a piece of music once or twice and she knew it all. (Nadia Boulanger, Paris 1973)

Spunicunifait is the curious name adopted by a group of five musicians, all of whom have a great deal of experience in chamber music as well as in prestigious orchestras such as the Chamber Orchestra of Europe; they have founded this ensemble to be able to devote themselves to the in-depth study and period instrument performance of Mozart's six string quintets. Their choice of a name is also a trifle facetious, copying the example set by Mozart in a letter to his cousin Maria Anna Thekla Mozart in which he wrote the three mysterious words "Spuni Cuni fait"; these could mean spun or woven / coney or rabbit / and "made," the past participle of the French verb faire: to make: something woven from rabbit skin, like the shawl his beloved cousin Basle wore in a self-portrait.

In a palace at the edge of the Ottoman Empire, Constance, a noble captive, lives under the watchful guard of the powerful Pasha Selim, who longs for her heart. But Belmonte, her devoted lover, braves seas and dangers to find her. With the help of Pedrille, he attempts a daring escape, all under the suspicious eye of Osmin, the brutal yet comical guard. Nighttime intrigues, outlandish disguises, and eternal vows weave an exuberant comedy where emotions are put to the test. The Orchestre de l'Opera Royal, conducted by Gaetan Jarry, blends liveliness and eloquence to bring to life one of Mozart's most spirited works-performed in French!

Barrie Kosky, one of the most innovative opera directors of our time, creates a new interpretation of Mozart's Le nozze di Figaro at the Vienna State Opera with a very young ensemble: Andre Schuen and Hanna-Elisabeth Muller in the roles of Count and Countess Almaviva, Peter Kellner as Figaro, Patricia Nolz as Cherubino. Susanna's role is interpreted by both Ying Fang (acting) and Maria Nazarova (singing), as Ying Fang could not sing due to a vocal cord illness. Philippe Jordan conducts the Orchestra of the Wiener Staatsoper and together they "deliver an ideal mixture of elegant lyricism and concentrated expression - each and every one" (Wiener Zeitung) // "Beauty and pointedness are combined in the noblest way. " (Der Standard) // "A triumph of Barrie Kosky's directorial brilliance - hilarious yet deeply engaging and thought-provoking. " (klassik-begeistert. De)

Barrie Kosky, one of the most innovative opera directors of our time, creates a new interpretation of Mozart's Le nozze di Figaro at the Vienna State Opera with a very young ensemble: Andre Schuen and Hanna-Elisabeth Muller in the roles of Count and Countess Almaviva, Peter Kellner as Figaro, Patricia Nolz as Cherubino. Susanna's role is interpreted by both Ying Fang (acting) and Maria Nazarova (singing), as Ying Fang could not sing due to a vocal cord illness. Philippe Jordan conducts the Orchestra of the Wiener Staatsoper and together they "deliver an ideal mixture of elegant lyricism and concentrated expression - each and every one" (Wiener Zeitung) // "Beauty and pointedness are combined in the noblest way. " (Der Standard) // "A triumph of Barrie Kosky's directorial brilliance - hilarious yet deeply engaging and thought-provoking. " (klassik-begeistert. De)

Inspired by their release earlier this summer of Mozart's 'Gran Partita', performed by a Milanese wind ensemble of principals from La Scala, Brilliant Classics here takes the excellent opportunity to combine that brand new recording of the pinnacle of Mozart's chamber music for winds with all the rest of his music in the genre, recorded for Brilliant back in the spring of 2001 by the wind soloists of the Rotterdam Philharmonic. Thus we have the leading players from two renowned orchestras breathing life into the wind music that played such a large role in the career of the Viennese genius. Mozart's chamber music for winds stems from the genre of Harmoniemusik: entertainment music that was in vogue in the second half of the 18th century named for the courtly wind ensemble of pairs of woodwinds plus horns, called Harmonie or Harmonieorchester in German-speaking countries. It's characteristic forms include the Serenades and Divertimenti. This was music that could be performed outdoors (due to the instruments' power of projection) or at informal settings such as meals (where they could be heard over lively conversation) with the musicians entertaining either themselves or an aristocratic dinner party, the so-called Tafelmusik (music for the table). Hence, Mozart was called upon often to write such works, either by wind-player friends (fellow Freemasons) or by his employers for the enrichment of courtly life. Other information: - CDs 1-6 recorded Spring 2001 in Rhoon, Netherlands; CD7 recorded December 2023 in Bernareggio, Italy - Booklet in English contains liner notes by Dr David Doughty - Composed primarily between the late 1770s and early 1780s, Mozart's Serenades and Divertimenti for Wind Instruments were mostly performed for courtly entertainment or social gatherings. In these works Mozart shows a deep understanding of wind timbres and their expressive potential. His ability to create quasi-operatic dialogues between instruments and his sensitivity to sonority make these works timeless treasures. - Among the most famous of these compositions is the Serenade No. 10 in B-flat major, K. 361, commonly known as the Gran Partita. This masterpiece, scored for 13 instruments, showcases a remarkable blend of rich harmonies, virtuosic passages, and expressive melodies, particularly in the renowned Adagio movement. The two Serenades KV 375 and 388 are strong, mature masterpieces in their genre. - Performed by the Soloists Delle Scala, and the Rotterdam Wind Players, directed by clarinetist Henk de Graaf.

Idomeneo has long been one of Sir Simon Rattle's favourite works, and with good reason. Mozart's "dramma per musica" from 1781 completely revitalised the opera seria genre, which had previously been considered outmoded. It opens the series of operas from the composer's mature period. For this commissioned work for the excellent ensemble of the Munich Residenztheater, Mozart had unlimited musical resources at his disposal. It was his most extensive and ambitious stage work to date, featuring demanding arias, differentiated role portraits, a virtuoso orchestral part and several large choral scenes that rank among the most impressive in his oeuvre. - Mozart's first great opera gave Simon Rattle the opportunity to work intensively with the Chorus immediately after taking up his position as the new Chief Conductor of the Bavarian Radio Chorus and Symphony Orchestra in the autumn of 2023, further deepening his interest in historical performance practice in Munich. He was supported by an exceptional cast of singers, including British tenor Andrew Staples in the challenging title role, soprano Sabine Devieilhe and mezzo-soprano Magdalena Kozena as the tender lovers Ilia and Idamante, soprano Elsa Dreisig as the envious and distraught Elettra, and several other soloists and choral soloists. Howard Arman directs the Bavarian Radio Chorus, and Simon Rattle conducts the Bavarian Radio Symphony Orchestra.

For the internationally acclaimed soloist Jennifer Lim, it has been a long, cherished wish to record the complete Mozart pianos sonatas. She has finished just that with GENUIN, where her last, critically acclaimed recordings were also released. She invites her audience to Mozart's piano universe, from the first, youthful and stormy works of the teenager to the glowing and infinitely complex sonatas of his final years. She groups the works according to musical aspects rather than chronological order. This offers a special listening pleasure and reveals unexpected and connective relationships between the works.

A rising star and beloved worldwide, Chloe Chua presents with PENTATONE the vinyl edition of Mozart's complete violin concertos, Rondo in B-Flat Major, K. 269 and Rondo in C Major, K. 373 as well as the Sinfonia Concertante for Violin, Viola & Orchestra in E-Flat Major, K. 364. The latter also features the outstanding young Chinese violist Ziyu He, winner of the 2016 Yehudi Menuhin Competition at just 16. In this performance, he showcases his remarkable artistry alongside Chloe, herself a former winner of the same prestigious competition. The soloists are joined by the Singapore Symphony Orchestra, conducted by Hans Graf, whose connection with the violin virtuoso holds special significance. This project began when Chloe was just 15 years old, when she embraced the challenge of following in the footsteps of the many legendary violinists who have recorded this repertoire. In these refined and fresh interpretations, her deep connection to the music - written by Mozart when he was around her age - is unmistakable. Even without a trained ear, one can appreciate her extraordinary technique, elegance, and effort to capture the vitality of these beloved works. This special vinyl edition complements Chloe's already released and acclaimed Butterfly Lovers & Paganini (2025) and Vivaldi: Four Seasons & Locatelli Harmonic Labyrinth (2024). This release is also available as a physical 3CD album.

Beloved worldwide, Chloe Chua returns to PENTATONE with Mozart's complete violin concertos - a project that began when she was just 15 years old. The album features Mozart's Rondo in B-Flat Major, K. 269 and Rondo in C Major, K. 373 as well as the Sinfonia Concertante for Violin, Viola & orchestra in E-Flat Major, K. 364. The latter also features the outstanding young Chinese violist Ziyu He, winner of the 2016 Yehudi Menuhin Competition at just 16. In this performance, he showcases his remarkable artistry alongside Chloe, herself a former winner of the same prestigious competition. The soloists are accompanied by the Singapore Symphony Orchestra under the baton of Hans Graf, for whom the relationship with the violin star is particularly special. For Chloe, Mozart's music holds a special place in her heart and she has embraced the challenge of following in the footsteps of so many legendary violinists. In these refined and fresh interpretations, her deep connection to the music - written by Mozart when he was around her age - is unmistakable. Even without a trained ear, one can appreciate her extraordinary technique, elegance, and effort to capture the vitality of these beloved works. This album continues Chloe's exclusive collaboration with PENTATONE, complementing the already released and acclaimed Butterfly Lovers & Paganini (2024) and Vivaldi Four Seasons and Locatelli Harmonic Labyrinth (2023).

The present box will be released on the occasion of the 25th anniversary of the label SWRmusic. It contains re-releases of important recordings from the SWR archives, starting with 1952 and ending with 2018.

The special vibrations that the Hohenstaufen Chamber Music Festival generates are directly audible in the contents of this anniversary CD box, which consists solely of live performances. The choice of music ranges far and wide through all periods and genres: from Johann Sebastian Bach through key works of the Viennese Classical school and the German Romantics to French Impressionist compositions and classics of the Modern era. There are jazz numbers and contemporary works too, a further pointer to the ethos of the Hohenstaufen Chamber Music Festival, which does not call for tradition to be upheld on principle but aims at a constant rediscovery of the world and it's inhabitants through their sounds and timbres, no matter whether they come from "old" or "new", "serious" or "light" music. Hohenstaufen doesn't pigeonhole things like that; it believes in taking your partners to make "good" music. Music is good, quite simply, when it moves us, uplifts us, challenges us. "Music must never be comfy," to quote the pithy conclusion that Helmuth Rilling, to whom the Festival is greatly indebted, once drew. "It must stir people, touch them personally, give them food for thought." If the pieces brought together here can achieve this, the Hohenstaufen Chamber Music Festival will have received the biggest twentieth birthday present it could have.

Mozart may have died heavy in debt, having encountered much fickleness on the part of the Viennese audiences and struggled to find suitable permanent employment for most of his career, but today his music is celebrated the world over; he is considered one of music history's greatest names, the vast majority of his works enjoying regular performances and being constantly reinterpreted by amateurs and top professionals alike. Stretching from his earliest years (Mozart started composing at the age of five) right through to his final days, this wonderful compendium traverses the full gamut of his output, covering the time spent in Salzburg working for his employer, the Archbishop Colloredo, the extensive travel he undertook during the 1760s and 1770s (which was in part to showcase his prodigious talents on the keyboard and violin, together with his talented sister Nannerl), and his later years in Vienna, to which he escaped in 1781 - against his father's wishes - to pursue a freelance career and where he married Constanze Weber the following year. What becomes evident from this set is that Mozart packed a phenomenal amount into his 35 years, a life that was often dominated by obsessive overwork, particularly towards the end. Moreover, there was not a genre akin to the period that he neglected nor did not achieve success in (in this collection the works are ordered as such, traversing orchestral music, chamber music, solo instrumental music, sacred music and vocal music), and in many cases he effected transformation, attaining new artistic levels - this is particularly evident in the piano concertos that begin the compendium, remarkable for their diversity of character, and the concluding mature operas, works that achieved new depths of characterisation. A more varied, colourful output you could not find, one that is enhanced in this release by the multitude of talented performers assembled. At the bargain price of �110, this 170-CD box set is not to be missed, affording hours of pleasurable listening that will satisfy both Mozart aficionado and novice. Other information: 170 CDs representing the entirety of Wolfgang Amadeus Mozart's oeuvre in historically informed performances. This includes all the concertos, chamber music, divertimenti, sonatas and of course the operas. For reasons of completeness, pure musical enjoyment, scholarly research, attractive, space-saving design and price, you cannot afford to be without Brilliant Classics' improved Complete Mozart Edition. Featuring numerous period-instrument and award-winning recordings. Extensive liner notes and sungs texts available for download, by clicking on 'Download booklet' below the cover.

Boasting a musical partnership of over 15 years, during which they have played in concerts throughout the world (recently at the Wigmore Hall in London and the Suntory Hall in Tokyo), the violinist Sayaka Shoji and the pianist Gianluca Cascioli have already recorded the complete violin and piano sonatas by Beethoven on modern instruments (Deutsche Grammophon, 4CDs, 2010-15). After adopting a "historically informed" outlook that has matured through long study and important collaborations, they now tackle the Mozart sonatas with an approach that begins with their choice of instruments: the extraordinary Stradivarius 'Recamier' mounted with gut strings and a Paul McNulty fortepiano (copy of Anton Walter) already used by Cascioli on his recent Beethoven recital ("Simply some of the most effervescent, creative and invigorating piano-playing I have heard in a long time." - International Piano). This release, which initiates a four-album cycle, marks the beginning of Shoji's collaboration with Arcana.

The unsuspected summits of virtuosity Playing fast and loud... Letting the rapidity of your fingers go to your head... Is this really the definition of virtuosity? Virtuosity has it's origins in 'virtue'; a set of moral qualities, before evolving into something purely technical. By choosing works by Brahms, Mozart, and Liszt, Michel Dalberto will take us on the lengthy journey towards an increased understanding of these pieces. The difficulty of performing them is just one of the ways in which the texts take on their full meaning. So that the scores can reveal the full genius of their creator. Their humanity.

Franz Xaver Mozart, who studied with Salieri and Hummel, was a composer-pianist like his father, Wolfgang Amadeus, but inevitably laboured under the weight of huge expectation. This album contains his largest work for solo piano, the Piano Sonata in G major - an assured, distinctive piece that balances dance with drive. His most virtuosic work is the exuberant Fantasy on a Russian Song and a Krakowiak, while his mischievous Variations on a Russian Theme and the variations on his father's Don Giovanni illustrate Franz Xaver's great gifts for elaboration and playfulness. Robert Markham, who has conducted research into the life and music of Franz Xaver Mozart, has been hailed as a performer of 'astonishing lucidity and coherence' by Musical Opinion.

Mozart always had a special affinity with wind instruments: for him they were essential components of his musical expression, claims French clarinettist Nicolas Baldeyrou, a globally renowned soloist who has performed with some of the greatest conductors and virtuosi: this album is the first volume of a complete set of Mozart's chamber and concertante music involving the clarinet, which he has chosen to record on period instruments, "an authentic and revelatory experience, despite the technical challenges it presents". He has enlisted the help of his musical friends, all of whom are recognised as adept practitioners of modern instruments, but sustain a strong passion for period instruments... The programme of this first release includes the Serenades KV 375 and 388 as well as Mozart's Gran Partita KV 361, a work on an exceptionally grand scale, with it's line-up of thirteen players, it's expansive duration, and it's supreme musical quality, "rising to the level of Mozart's greatest symphonies and operas".

With the energy of a jet engine, violinist Oscar Bohorquez and pianist Frank Braley dive into a whirlwind exploration of unknown and thrilling American repertoire. Duos by Paul Schoenfield, William Bolcom, Aaron Copland, Mike Mower, and Brazilian composer Mozart Camargo Guarnieri - blessed with a name as remarkable as his music - bring the rhythmic vitality of the Americas into your living room. From jungle and desert-infused melodies to the spirit of tango, samba, rumba, square dance, and New York jazz clubs, this album offers a wonderfully vibrant and captivating musical experience.

This recording brings together two of the biggest sacred works written by Mozart and Haydn, the friends and contemporaries caught at opposite ends of their musical lives. Wolfgang Amadeus Mozart composed the substantial Mass in C minor (K. 139) for the consecration of the Waisenhaus (Orphanage) Church in the Rennweg when he was just twelve years old. The Mass received its first performance on 7 December 1768. While Mozart was overseeing the consecration of the Waisenhaus, Joseph Haydn was in the third year of his promotion to Kapellmeister at the palace of Esterházy, under Prince Nikolaus I. It was a post to which he returned in 1795, serving under Nikolaus II on a part time basis. This second term saw the composition of six Masses, with the penultimate – nicknamed the ‘Nelson Mass’ – widely regarded as his finest setting.

A child prodigy on tour: Instead of bringing home holiday snapshots, Wolfgang Amadeus Mozart returned with brilliant compositions, transforming the music and experiences he encountered on his travels into something uniquely his own. The Folkwang Chamber Orchestra Essen, under the vibrant direction of Johannes Klumpp, now brings Mozart's symphonic travel memories to life for us. This thrilling new GENUIN release is the fifth instalment in a series of highly praised Mozart recordings. Critics consistently highlight the ensemble's "outstanding technical skill" and praise "the conductor and orchestra as ideal interpreters of Mozart"!

She questions the simplicity in this program of "simple" piano sonatas and demonstrates her virtuosity by filling the few notes with as much musicality as possible. Shows different interpretations and styles of the genre "Sonatine" with works by Beethoven (No. 25, op. 79), Reynaldo Hahn (IRH90), Ravel (M. 40), Mozart (KV 545), Hermann Goetz (No. 1, op. 8) and Nikolai Medtner (op. 56)

Flanked on this recording by the Missa brevis in G major, the only example of a 'Pastoral' Mass by Mozart, and the emotive Missa brevis in F major, the precocious Mass in C major was composed at the age of only 13. It is a dramatic setting of sizeable proportions, with the Gloria and Credo themselves the length of a Missa brevis setting. The 'Dominicus' Mass shows a deepening of Mozart's contrapuntal and harmonic language, with more adventurous and memorable melodies for the soloists.

The instrument used for this recording stands in the focus. It's the Scherer-Bunting-organ in the St Nicolai Church in Molln, northern Germany. Presented with an interesting program of baroque and late baroque music

Instrumental concertos 1938-1940 After numerous large-scale symphonic productions Karl B�hm and the S�chsische Staatskapelle opened up a new genre in the fall of 1938 a new genre. From now on, more and more renowned instrumental instrumental soloists were brought to Dresden for recordings - an illustrious mix of world stars, some of whom who were guests in symphony concerts of the S�chsische Staatskapelle on several occasions, such as the pianists Wilhelm Backhaus, Edwin Fischer and Walter Gieseking, from newcomers such as the young violinist Wolfgang Schneiderhan and many more

W.A. Mozart - Symphony No. 35 "Haffner", Piano Concerto No. 24