Mozart Trio

This may well be the most fantastic recording I’ve ever heard of Mozart’s two piano quartets, and coming from someone who prefers his Mozart on modern instruments and has railed regularly against period instruments in music of this vintage, this is beyond high praise; it borders on glorification. Both the Quatuor Festetics, which began as a Read more Sturm und Drang of the G-Minor Quartet’s resolute and deeply tragic first movement. The instrument, of course, postdates though not by much the year in which the piece was written.

Isaac Stern's influence will linger with violinists for many years, and his recorded legacy will endure as Sony finds new ways to repackage his extraordinary body of work. This Masterworks Expanded Edition consists of analog and digital recordings made between 1964 and 1996; except for the bonus track, this 2004 reissue corresponds to the second disc in the 2002 set, "In Tribute and Celebration." Schubert's Piano Trio in B flat major, which Stern performs brilliantly with cellist Leonard Rose and pianist Eugene Istomin, is the oldest recording here, but it is more enjoyable than it was on LP because the sound has been substantially improved through careful remastering.

Isaac Stern's influence will linger with violinists for many years, and his recorded legacy will endure as Sony finds new ways to repackage his extraordinary body of work. This Masterworks Expanded Edition consists of analog and digital recordings made between 1964 and 1996; except for the bonus track, this 2004 reissue corresponds to the second disc in the 2002 set, "In Tribute and Celebration." Schubert's Piano Trio in B flat major, which Stern performs brilliantly with cellist Leonard Rose and pianist Eugene Istomin, is the oldest recording here, but it is more enjoyable than it was on LP because the sound has been substantially improved through careful remastering.

In 1877 Edvard Grieg informed his publisher that he had added “a free, second piano to several of Mozart’s sonatas.” As he later emphasised, his modernization “did not change a single one of Mozart’s notes”, but constituted “a way of showing admiration for an old master.” Grieg also intended the pieces for a duo of student at teacher; here the performers are a pianist of exceptional distinction and her legendary mentor: Elisabeth Leonskaja and Sviatoslav Richter.

Mozart’s horn concertos are so well-known that for many listeners the sound of the horn and Mozart are virtually synonymous. Mozart was not the first composer to write solo concertos for the horn, however, and works from earlier on in the eighteenth century give a quite different perspective on the instrument. With this disc soloist Alec Frank-Gemmill provides insights into some of these early horn concertos, by composers ranging from Telemann to Haydn, by way of Mozart’s own father, Leopold.

Listening to this work so soon after hearing Zauberflote one is amazed anew that Mozart could write two such totally contrasted pieces within months of each other. Here, in the composer's last opera seria, we are in another world, one of formality tempered by the deep emotions engendered by love and jealousy. Instead of birdcatchers and Masonic rights we are dealing with historic figures in a supposedly historic context with down-to-earth feelings. For each Mozart finds precisely the appropriate music.

All things Mozart have been said and done, you’d think. Well, nothing could be further from the truth. On a daily basis new findings are added to the research portfolio, not only with regards to the famous Salzburgian’s life – hasn’t that been dissected to death? – but also about each and every one of his compositions, continuously getting reframed, analyzed and compared. The exegesis of the Mozartverse is a full-time job to many. The works on this recording alone raise a bunch of questions of which several remain unanswered.

This recording of Handel's Acis and Galatea (or Acis und Galatea) features the German translation and arrangement completed by Mozart in Vienna circa 1788, per the instructions of the Baron Gottfried von Swieten to "modernize" Handel's pieces - including Alexander's Feast, Messiah, Ode for St. Cecilia's Day, and Acis and Galatea. Mozart kept much of Handel's original string arrangements, but proceeded to layer harmonies with a degree of sophistication that Handel could only have dreamed of.