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.
“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.
The quality of the recorded sound is so perfectly clear on this recording, like finely etched crystal, while at the same time it is so robust and resonant, that it is difficult to believe that the piano played on these two marvelous CDs is a replica of a 1785 Walter fortepiano, a smaller and much more fragile instrument than today's modern concert grand pianos.
Mozart Edition: The Complete Works will make a great gift this Holiday season for the music lover in your life or someone who is hard to buy for. This collection contains 170 discs of completed works by Mozart in one beautiful package. Also included is a cd-rom containing essays on his works, artist bio's, text and libretti's. All music lovers will enjoy the Symphonies - Concertos - Serenades - Divertimenti - Dances - Chamber Music - Church Sonatas - String Ensembles - Violin Sonatas - Keyboard Works - Sacred Works - Concert Arias - Songs - Canons and Operas in this collection.
‘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’.