The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.
‘Three small, easy and brief concertinos and a couple of quartets for the flute’ is how Mozart described the commission from Ferdinand Dejean. The pieces were K285 and K285a; K285b and K298 were written separately. The authorship of K285b has been questioned, and for Henrik Wiese, editor of the Henle Edition, Mozart in K298 ‘makes use of various themes by minor contemporary composers cobbling them into a parodistic quartet’.
The Naxos team consisting of pianist Jenö Jandó, the chamber orchestra Concentus Hungaricus and conductor Mátyás Antal came together again in May, June and July 1990 in order to record this, 11 volumes of the Naxos Complete Mozart Piano Concertos, and it seems to me that they had lost nothing of the impetus created by the previous issues, most of which were definite five-star material.
We bundled the eight Mozart cd’s that Rachel Podger and Gary Cooper recorded over the last ten years into an atrractive box, with an informative note from producer Jonathan Freeman-Attwoord. The duo partnership Gary Cooper and Rachel Podger has taken them worldwide.
EMI invited Daniel Barenboim to record the complete series, with the English Chamber Orchestra, as conductor and soloist. The recordings were made at London's Abbey Road Studios between 1967 and 1974.
Harnoncourt discovers many unfamiliar treasures… Harnoncourt clearly loves every bit of this music… The performances are characteristic of his pioneering work with Concentus Musicus. (The Guardian)
“Anima Eterna’s stunning playing in the tuttis is perfectly balanced with the fluent playing of Immerseel” Gramophone Magazine
This set of Mozart's concertos for solo piano, recorded in 1990 and 1991, was one of the earlier widely publicized traversals of the Mozart cycle to be performed on historical instruments, in this case a modern copy of a Viennese Walter fortepiano. The chief virtue of the set is that Belgian fortepianist Jos van Immerseel and his Anima Eterna ensemble work together in extremely well-coordinated readings.