Steinaecker

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

This recording of Mahler’s Ninth Symphony is an event, because it was made with period instruments of the kind the composer used in Vienna. The Mahler Academy Orchestra set itself the task of reconstructing this instrumentarium and researching how musicians of the time played it: ‘We were struck during our rehearsals by the incredibly distinctive characterisation of the woodwinds, the shattering blare of the brass, the perfect balance between the instruments, and the pure and warm sound of the strings…

The Neue Zürcher Zeitung described the Swiss pianist See Siang Wong as a "subtle sound painter". For his atmospheric album "Minore - Piano Concertos No. 20 & No. 24, Adagio K. 540" he has chosen very special works by Mozart. They are the only works composed in minor keys, thus differing greatly from Mozart's major works and shaping the intense character of the album. See Siang Wong says of them, "Mozart's minor works are touching in their depth and individuality.