Robert Silverman Mozart Ps2010

AAM releases the final volume of an acclaimed project to record Mozart’s complete works for keyboard and orchestra. Fittingly, this final instalment includes three works that in various ways are valedictory: K595 is Mozart’s last completed keyboard concert, while K503 is the last concerto of his Viennese years. Louise Alder joins AAM and Robert Levin in an aria for solo soprano, solo keyboard and orchestra; Ch’io mi scordi di te? is a farewell to one of Mozart’s favourite singers, Nancy Storace.

Wolfgang Amadeus Mozart - Concertos pour vents (2021) {2CD Set, Diapason DIAP132 rec 1953-1961}
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Classical / Viennese School / Chamber Music

Incredibly the Bassoon Concerto was written when Mozart was only eighteen. By this stage in his life he had already written about thirty symphonies, a dozen string quartets and several Italian operas. The Flute Concerto is notable for the fact that Mozart did not like the flute as an instrument, famously stating 'whenever I have to write music for an instrument I dislike, I immediately lose interest'. In 1791, the last year of his life, Mozart wrote the Clarinet Concerto. Interestingly the Clarinet Concerto was not composed for a standard clarinet in A but for an instrument the court clarinettist Anton Stadler had developed which extended the instrument's lower range by four notes.

These bracing, unorthodox fortepiano readings of Mozart's first three keyboard sonatas are the first in a series by Robert Levin, a professor at Harvard University. Levin is among the first players to use the fortepiano's agility in the service of speed and flash. His Mozart is quick, jumpy, technically impressive, and distinctly unlyrical – "un-Mozartian" will be the first reaction for many listeners. Sample the Presto finale of the Piano Sonata in F major, K. 280, for an example of what you're getting into here.

Academy of Ancient Music (AAM) resumes a celebrated project to record Mozart’s complete Piano Concertos, with this ninth volume released after an extraordinary 20-year wait. Together with renowned scholar-pianist Robert Levin, AAM presents Mozart’s Piano Concertos No. 21 in C Major K467, perhaps one of Mozart’s most well-known Piano Concertos and featured in films The Spy Who Loved Me and Elvira Madigan, and No. 24 in C Minor K491, described by Mozart scholar Alexander Hyatt King as ‘not only the most sublime of the whole series but also one of the greatest pianoforte concertos ever composed’.

This is the definitive collection of Charles Mackerras’s Mozart recordings for Linn, with the Scottish Chamber Orchestra. Comprising nine symphonies plus the Requiem, this boxed set exemplifies why Mackerras was acclaimed as one of the world’s greatest Mozartians and the SCO is internationally recognised as one of the world’s finest chamber orchestras. Mackerras’s recording of Mozart’s four late symphonies (Nos. 38–41) won multiple awards: the 2009 Classical BRITs Critics’ Award and the 2009 BBC Music Magazine Disc of the Year and Orchestral Awards, whilst his recording of symphonies Nos. 29, 31 (‘Paris’), 32, 35 (‘Haffner’) & 36 (‘Linz’) was named Symphonic Recording of the Year at the 2011 ECHO Klassik Awards. Completing the collection is Mackerras’s recording of the Mozart Requiem, boasting stellar soloists led by soprano Susan Gritton and mezzo Catherine Wyn-Rogers. The score, prepared by the renowned American academic Robert Levin, aims for a more historically authentic performance of the choral masterpiece. It was named a benchmark recording by BBC Music Magazine amongst other accolades.