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Musicaeterna, Teodor Currentzis – Mozart: Le nozze di Figaro, K.492 (Dramma giocoso in quattro atti) (2014)
FLAC (tracks) 24 bit/192 kHz | Time – 02:56:29 minutes | 5,30 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
Sony Classical announces a major new Mozart opera project with conductor Teodor Currentzis and his orchestra & choir MusicAeterna. A ‘no-compromise’ studio recording cycle of Mozart’s three Da Ponte operas. Living in a unique artistic community established on the edge of Siberia, the musicians work and record under ideal conditions towards Currentzis’ stated goal “to show what can be achieved if you avoid the factory approach of the classical music mainstream”.
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Katherine Lacy – Mozart: Clarinet Concerto, K. 622 & Clarinet Quintet in A, K. 581 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 58:55 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Royal Philharmonic Orchestra
Mozart achieved an exalted level of musical perfection with his Clarinet Concerto, conveying the most profound emotions and a stream of seamless musical poetics. It remains one of the most popular pieces in the classical repertoire. The Clarinet Quintet, meanwhile, sparkles with beauty – the liquid grace of the opening movement, the Larghetto’s timeless poise, the playful mannerisms of the Minuet and the exquisite theme and variations finale. The essential humanity of Mozart’s creative spirit is everywhere apparent in this recording, and his music remains a guiding beacon of sanity in an increasingly uncertain world. This repertoire is the perfect showcase for the virtuoso talents of Katherine Lacy, the acclaimed principal clarinettist of the Royal Philharmonic Orchestra which accompanies her in the Mozart Clarinet Concerto, directed by Duncan Riddell (the Chamber Soloists of the Royal Philharmonic Orchestra perform in the Clarinet Quintet).
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Hilary Hahn, Paavo Järvi, The Deutsche Kammerphilharmonie Bremen – Mozart 5, Vieuxtemps 4: Violin Concertos (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:52 minutes | 1,21 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)
Hilary Hahn’s newest album, Mozart 5, Vieuxtemps 4 – Violin Concertos, is her first recording with The Deutsche Kammerphilharmonie Bremen and Paavo Järvi, after performing and touring with the ensemble and conductor for many years. The disc releases on March 31, and is Hahn’s first orchestral offering since her 2010 pairing of Tchaikovsky’s violin concerto and Jennifer Higdon’s Pulitzer-prize winning violin concerto, which was written for Hahn. With this new album, she returns to core violin repertoire, hot on the heels of her critically-acclaimed, Grammy-winning album of 27 commissioned short pieces, In 27 Pieces: the Hilary Hahn Encores, and an improvised recording with prepared pianist Hauschka, titled Silfra.
Mozart 5, Vieuxtemps 4 also brings Hahn full circle, after more than three decades of violin playing, to two concertos that have been part of her repertoire since she was ten years old. Vieuxtemps’s Violin Concerto No. 4 was the last large piece she learned with Klara Berkovich, her teacher from ages five to ten. Several months later, Mozart 5 was the first concerto that Jascha Brodsky taught her at the Curtis Institute of Music. Berkovich began her violin studies in Odessa and went on to teach in St. Petersburg (then Leningrad) before emigrating to the States. Brodsky was one of the last pupils of the legendary Eugène Ysaÿe, who, coincidentally, was a star student of Vieuxtemps, making Vieuxtemps Hahn’s musical great-grandfather in the violinist family tree.
Juliette Bausor, Royal Northern Sinfonia, Jaime Martín – Mozart & Nielsen: Flute Concertos (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 55:37 minutes | 984 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Signum Records
For her debut concerto recording, 2014 ECHO ‘Rising Star’ Juliette Bausor performs works for flute and orchestra by Mozart and Nielsen, with Royal Northern Sinfonia and conductor, Jaime Martin.
Juliette Bausor joined the London Philharmonic Orchestra in July 2016 as Principal Flute, having previously held the same position with Royal Northern Sinfonia for 11 years. She also plays Principal Flute with the London Mozart Players and is a member of the celebrated chamber group Ensemble 360. Described by John Allison in The Times as a “rising star in the arts firmament”, Juliette Bausor enjoys a growing reputation as one of the foremost flautists of her generation.
Howard Shelley, Sinfonieorchester St Gallen – Mozart & Clementi: Piano Concertos (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:27 minutes | 1,16 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Hyperion Records
Franz Xaver Mozart was born just four months before the death of his father, Wolfgang Amadeus. A pianist of similarly precocious talent, he nevertheless wrote just two piano concertos: coupled with Clementi’s only surviving essay in the genre, they make a sparkling addition to our Classical Piano Concerto series.
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Julia Fischer, Gordan Nikolić, Netherlands Chamber Orchestra, Yakov Kreizberg – Mozart: Works for Violins and Orchestra (2007)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:33 minutes | 1,16 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PentaTone
German violinist Julia Fischer, 24 years old when this recording was released, is surely a bright new star, all charisma as her diminutive self stands between conductor and collaborator Yakov Kreizberg and violist Gordan Nikolic on the cover of this disc. She has a steely technique that she brings to Mozart’s Sinfonia Concertante in E flat, K. 364 — not a steely work, but the musicianship here is superb. Fischer and Nikolic make an attractive pair in the work, her razor-sharp tone set against his gutsier sound production, all the contrasts held together by Kreizberg’s brisk tempos and no-nonsense forward drive. There are recordings of the Sinfonia Concertante that play more directly to sentiment, but the work’s intricate architecture breathes in this interpretation. An additional bonus is the inclusion of the rarely heard Concertone in C major for two violins and orchestra, K. 190, a work that also has solo oboe and cello parts and seems to hang in the balance between the concerto and sinfonia concerante (multiple-soloist) genres. The performers bring a nice lilting quality to the first two movements, rather sprawling creations of the young Mozart that demand really compelling soloists of the sort on display here. The only complaint is over-resonant sound, the result of PentaTone’s decision to record in a Haarlem church — the wrong place for music intended for a medium-sized, crowded, well-upholstered room. It destroys the intimate scale of the performance and causes the soloists and the harpsichord continuo of the Concertone, especially, to sound a bit like they are swimming in a watery chamber. The clarity of Fischer’s playing, however, is not compromised, and it’s a real wonder. She has also recorded two of Mozart’s solo violin concertos with the same forces, but this disc in a way suggests even greater talents. –James Manheim, AllMusic
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Alina Ibragimova, Cédric Tiberghien – Violin Sonatas K305, 376 & 402 (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:39:05 minutes | 1,68 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Hyperion Records
The earliest music here dates from when Mozart was just six years old, the latest from his rst years as a freelance composer resident in Vienna. The distinguished advocacy of Alina Ibragimova and Cédric Tiberghien, in a second volume of the complete violin sonatas, is equally persuasive in both.
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Alina Ibragimova, Cédric Tiberghien – Mozart: Violin Sonatas K301, 304, 379 & 481 (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:43:53 minutes | 1,69 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Hyperion Records
Mozart’s violin sonatas span his entire career—the early ones are billed as piano sonatas with optional violin accompaniment—and they develop over the years into the first triumphs of the modern genre. Alina Ibragimova and Cédric Tiberghien have been enthralling audiences worldwide with these works, and now the first instalment is available as a highly desirable 2-for-1 album.
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Arabella Steinbacher, Festival Strings Lucerne, Daniel Dodds – Mozart: Violin Concertos Nos. 3, 4 & 5 (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:18:08 minutes | 1,35 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PentaTone
Violinist Arabella Steinbacher studied her first Mozart Violin Concerto in G major at the age of eight. The legendary pianist Arthur Schnabel mentioned that the piano sonatas of Mozart are too easy for children yet too difficult for adults. In Steinbacher’s words: In Mozart one must always make sure that it’s powerful, but at the same time never sounds aggressive and that the sound always remains beautifully pure and almost angelic.
And since then the piece has become the underlying theme throughout her career. She played the piece during many important moments of her life. It was also the piece that got Arabella accepted as the youngest students of Ana Chumachenko when she was nine. Yet it never came to a CD recording while listeners regularly ask for it.
In making the recording Ms Steinbacher said,” I’m glad it can finally be recorded now. Mozart connects me to my childhood and it has opened many doors.”
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Julia Fischer, Netherlands Chamber Orchestra, Yakov Kreizberg – Mozart: Violin Concertos Nos. 3 & 4 (2005)
FLAC (tracks) 24 bit/96 kHz | Time – 01:00:41 minutes | 1,05 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PentaTone
It takes a lot of guts to write your own cadenzas. After all, most of the concertos in the standard repertoire already have their standard cadenzas, usually supplied by either the composer or some exceedingly well-known soloist, and the chance of any current soloist touching the same celestial heights is doubtful at best. Nevertheless, on this disc of Mozart’s Third and Fourth violin concertos coupled with his Adagio K. 261 and Rondo K. 269 for violin and orchestra, Julia Fischer not only writes most of her own cadenzas, she touches the same celestial heights as the greatest masters of the bow. Fischer has a pure tone, an impeccable intonation, and an immaculate technique, but she also has a warm heart and a radiant soul, and her performances of Mozart’s concertos are as clear and luminous as the music. Beyond that, Fischer has the rare talent of writing cadenzas that partake of the substance of the music but transfuse it with the joy of Fischer’s soul, and the result not only touches the heart, it touches the infinite. Yakov Kreizberg leads the Netherlands Chamber Orchestra in stylishly polished performances and provides the cadenza for the central Adagio of the Third concerto, but this is Fischer’s show and she proves herself a star. PentaTone’s 2005 sound is warm, deep, and full. –James Leonard
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Frank Peter Zimmermann, Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks, Radoslaw Szulc – Mozart: Violin Concertos Nos. 1, 3 & 4 (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 01:17:31 minutes | 804 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Hänssler Classic
Today when Frank Peter Zimmermann says that Mozart has always been easy for him, he needs only call to mind his debut concert at the age of ten – when he played Mozart’s G major Concerto K. 216; or when, some 30 years ago, as a fresh 20-year-old, the same FPZ made his first recording of the five concertos for EMI; and then if one factors in that over the years that each of these Mozart works has passed through his hands nearly 300 times in concert, then one can begin to appreciate the intense physical and spiritual experience that Frank Peter Zimmermann brings to these new recordings.
One will immediately hear on this CD the experience that a master can bring to these works, because no one else plays these works with the same incredible, almost balletic, weightless elegance and rich tone, reaching a degree of intimacy, without any obstacle between the performer and the listener, as does Frank Peter Zimmermann. Mozart’s every wish is perfectly fulfilled! The Chamber Orchestra of the Symphony Orchestra of the Bavarian broadcasting company serves both masters admirably.
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Julia Fischer, Netherlands Chamber Orchestra, Yakov Kreizberg – Mozart: Violin Concertos Nos. 1, 2 & 5 (2006)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:48 minutes | 1,24 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PentaTone
Julia Fischer is joined by Yakov Kreizberg and the Netherlands Chamber Orchestra, as the musicians explore three Mozart concertos for violin and orchestra. The program includes Mozart’s joyous first two concertos and his complex fifth. This highly anticipated work follows the pair’s successful recording of Mozart’s Concertos Nos. 3 and 4. Fischer delivers a radiant performance filled with lyricism and refined charm, while Kreizberg commands the well-balanced orchestra with vibrant spontaneity.
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Berliner Philharmoniker, Karl Böhm – Mozart: Symphonies Nos. 35 – 41 (1995/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 02:27:01 minutes | 2,84 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)
These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent ‘big orchestra’ Mozart at its most congenial. The contrast here between Bohm’s sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm’s favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today’s standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.
There is some inconsistency between the different recordings, all made in the Jesus-Christus Kirche in Berlin between 1959 and 1966. The best sound comes from the sessions in 1966 for the Linz and No. 39 – satisfyingly full with no edginess on violins – and the least good from 1959 for the Prague, where high violins sound rather fizzy. Yet the very precision of the CD transfers encourages one to highlight such points. In practice most collectors will find the sound more than acceptable enough in all six symphonies to convey the warmth of Bohm in Mozart without distraction. Peter Cosse contributes an informative note on Bohm, rightly bringing out his ”natural, unforced approach to Mozart”, but much of the booklet is given over to advertising the other issues in The Originals series. After all, what harm is there in encouraging nostalgia by making the CDs look like vintage LPs and by reproducing the original sleeve designs? –Edward Greenfield, Gramophone
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Berliner Philharmoniker, Philharmonia Orchestra, Herbert von Karajan – Mozart: Symphonies Nos. 29 & 38 (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 48:40 minutes | 1015 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics International
The Karajan Official Remastered Edition comprises 13 box sets containing official remasterings of the finest recordings the Austrian conductor made for EMI between 1946 and 1984, and which are now a jewel of the Warner Classics catalogue.
For many, Herbert von Karajan (1908-1989) – hailed early in his career as ‘Das Wunder Karajan’ (The Karajan Miracle) and known in the early 1960s as ‘the music director of Europe’ – remains the ultimate embodiment of the maestro. The release of the Karajan Official Remastered Edition over the first half of 2014 marks the 25th anniversary of the conductor’s death in July 1989 at the age of 81.
He was closely associated with EMI for the majority of his recording career (specifically from 1946 to 1960 and then again from 1969 to 1984). EMI’s legendary producer Walter Legge sought him out in Vienna just after World War II and the long relationship that ensued embraced recordings with the Vienna Philharmonic, the Philharmonia (the orchestra founded by Legge), the Berlin Philharmonic (of which Karajan became ‘conductor for life’ in 1955), the forces of La Scala, Milan, and the Orchestre de Paris.
The Karajan Official Remastered Edition will feature primarily symphonic and choral music. The entire edition will comprise recordings remastered from the original sources in 24-bit/96kHz at Abbey Road Studios, the world’s most renowned recording studio.
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Armida Quartett – Armida Quartett : Mozart: String Quartets K. 169, K. 464 & K. 589 (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:28 minutes | 1,19 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © CAvi-music
Every string quartet dreams of having its own Mozart cycle: for its 10th anniversary in 2016, the Armida Quartet plans to perform all 23 works in public. The composer was part of each one of their lives long before the ensemble was formed. Playing in orchestras, in chamber music and in solo recitals, the Armida Quartet’s future members already got to know and love Mozart.
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