Mozart's Sinfonia Concertante for violin, viola, and orchestra is one of his greatest masterpieces. It was a joy and an honour to record Mozart's Sinfonia Concertante.
Dittersdorf Symphony Concertante in D major for viola and double bass written circa 1775. The viola and the double bass are certainly the two most unreasonably neglected soloists among the orchestral strings; to pair them in a sinfonia concertante may well in the first place have been a charitable idea on Dittersdorf's part.
This SIX CD collection of 101 favorite tracks is the perfect introduction to the music of Wolfgang Amadeus Mozart, one of the greatest and most popular composers of all time. With a running time of well over 7 ½ hours of music this box set provides unbeatable value for money. The comprehensive collection covers every aspect of this popular composers music best-loved arias from his operas and highlights from the sacred choral works rub shoulders with favorite moments from his symphonies, concertos, serenades, sonatas and chamber music. Includes recordings by some of the greatest exponents of this repertoire in the Decca catalogue, including artists such as Mitsuko Uchida, Vladimir Ashkenazy, Sir Colin Davis, Joshua Bell, Sir Neville Marriner and Sir Georg Solti.
To celebrate the 40th anniversary of Otto Klemperer s death, EMI Classics pays tribute to the incomparable conductor with the release of an extensive edition of 11 luxurious yet affordably-priced boxsets. The second edition of three is available this January. The great symphonies of Wolfgang Amadeus Mozart are considered to be the last nine together with Nos. 25 and 29. Klemperer s first recordings of these were Nos. 29 and 41 in 1954 followed by Nos. 25, 36, 38, 40 and 41 two years later together with the Seranata Notturna, Eine kleine Nachtmusik and the Adagio & Fugue. He revisited Nos. 29, 38, 39, 40 and 41and Eine kleine Nachtmusik in the 1960 s as well as completing all the other recordings in this 8-CD collection entitled Klemperer Edition: Mozart.
These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent 'big orchestra' Mozart at its most congenial. The contrast here between Bohm's sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm's favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today's standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.