Mozart Overture

One genius hides another. Behind Mozart, Haydn and Beethoven were many talented composers who contributed to the development of the classical style, but who are still little known. Generation Mozart brings back into the limelight these forgotten masters. They dedicate their first volume to Joseph Martin Kraus. Mozart's exact contemporary, he was the first architect of the Swedish musical school, which earned him the nickname"Swedish Mozart". Génération Mozart and it's conductor Pejman Memarzadeh join forces with soprano Marie Perbost to put him in his rightful place, through an album mixing opera, arias and orchestral pieces.

40 CD box set featuring concerts, quartets, divertimenti, symphonies, arias, opera scenes, famous overtures, sonatas and so much more.

Günter Wand (1912-2002) left us dozens of gramophone records: complete symphonic cycles and impressive live recordings of his concerts with the NDR Symphony Orchestra and the Berlin Philharmonic. The archetypical anti-star all his life and for that very reason under-appreciated, this conductor only attained international recognition in his old age as an unequalled interpreter of classical music. Accordingly, most of these multiple-award-winning benchmark recordings date from his later years. Wand's music-making moved those who heard it with its impeccable balance of perfection coupled with faithfulness to the original, emotional fulfilment, intellectual control, utmost sensitivity and spiritual penetration. He described his mission as "serving music", a cause to which this totally unpretentious man remained committed for seventy years. He rose to be one of the true "greats" of the twentieth century, a figure standing head and shoulders above our restless times, his name synonymous with the highest musical quality.

Volume 8 of Jean-Efflam Bavouzet’s survey of Mozart’s piano concertos with Gábor Takács-Nagy and Manchester Camerata features two late concertos – Nos 26 and 27 – along with the overtures to Così fan tutte, Die Zauberflöte (The Magic Flute), and La clemenza di Tito. Concerto No. 26, the ‘Coronation’, was completed in 1788, premièred in Dresden, and then played at the coronation of Leopold II as Holy Roman Emperor, in Frankfurt, on 15 October 1790.

This set restores to circulation Bruno Walter's New York Philharmonic versions of the mature Mozart symphonies (35-41). These were recorded in decent mono during the early LP era (1953-1956). Listeners familiar with his stereo versions of these works with the Columbia Symphony (an ad hoc ensemble formed largely for the sake of Walter's Indian Summer recording projects) will note some marked interpretative differences in the earlier recordings. The NYPO provides leaner textures and more alert playing, and Walter's conducting conveys greater vitality, than in the plusher and sometimes too languid Columbia Symphony recordings.

This set restores to circulation Bruno Walter's New York Philharmonic versions of the mature Mozart symphonies (35-41). These were recorded in decent mono during the early LP era (1953-1956). Listeners familiar with his stereo versions of these works with the Columbia Symphony (an ad hoc ensemble formed largely for the sake of Walter's Indian Summer recording projects) will note some marked interpretative differences in the earlier recordings. The NYPO provides leaner textures and more alert playing, and Walter's conducting conveys greater vitality, than in the plusher and sometimes too languid Columbia Symphony recordings.

This set restores to circulation Bruno Walter's New York Philharmonic versions of the mature Mozart symphonies (35-41). These were recorded in decent mono during the early LP era (1953-1956). Listeners familiar with his stereo versions of these works with the Columbia Symphony (an ad hoc ensemble formed largely for the sake of Walter's Indian Summer recording projects) will note some marked interpretative differences in the earlier recordings. The NYPO provides leaner textures and more alert playing, and Walter's conducting conveys greater vitality, than in the plusher and sometimes too languid Columbia Symphony recordings.