Wolfgang Amadeus Mozart

Continuing MDG’s successful survey of Mozart’s Complete Piano Works performed on fortepiano.

Zsigmond Szathmary presents a recording of little known music by Mozart with a colorful new sound.

A year ago we issued, to great critical acclaim. A double album of Paderewski’s first recordings, made in Europe in 1911-12 (APR6006). Between 1914 and 1931 the pianist recorded for Victor in the US but in 1937, after it appeared Paderewski had retired from the studio, he was persuaded to return to the HMV studios in London to make a final series of recordings. At first the plan was to record the repertoire which featured in the film ‘Moonlight Sonata’, a huge blockbuster success at the time which featured Paderewski playing himself, but in addition to this repertoire Paderewski went on to record works by Haydn and Mozart which were new to his discography. It has often been said that in later life Paderewski’s technique was not what it had been, and to an extent the is undoubtedly true, but this is not an issue in the classical works featured here, and the Haydn, Mozart and Beethoven in particular reveal the extreme poetry that had mesmerised audiences for fifty years and had made Paderewski the most famous pianist of his generation.

This is the first time all Paderewski’s 1930’s HMV recordings have been assembled together and two unissued tracks from the 1938 sessions are also included.

The latest volume in the critically acclaimed Mozart series from Dacapo.

This collection showcases some of the most popular wind pieces and in each case the featured soloist is the relevant RPO Principal for the instrument, and conducted by Nicholas Cleobury.

Recorded in 2008, respected pianist Derek Han provides a programme of rarer Mozart piano works

The Coronation Mass is, along with the Requiem, Mozart’s most often played sacred work. Its nickname, which was not given by Mozart, had its roots in the coronation of Emperor Leopold II in Frankfurt in 1790, and was provided by none other than Salieri! This work attains the loftiest perfection in the smallest possible space, combining simple expression with a complex modulatory technique. The purity of the work is comparable to certain parts of the Requiem.

The Chamber Choir of Europe under Nicol Matt has become recognised as one of the finest choirs in the world.

Mozart commenced work on this Mass without the usual commission. In fact he said he was writing it to celebrate his marriage to Constanze, who was also pregnant with their first child. Constanze was a singer of considerable ability, and the soprano part in this Mass is technically very difficult. We know from the diary of Mozart’s sister Nannerl that Constanze did sing the work. The music in this Mass far outstrips that of any previous setting he had written. First, it is on a scale hitherto unheard of. Secondly, the harmonic and contrapuntal elements display a daring and brilliance that are remarkable even by this composer’s standards. Thirdly, unlike the previous Masses, this work has a distinctly personal feel to it. The music is very emotional, sometimes anguished, and often staggeringly beautiful. At this time in his life, Mozart was a happy man. However, the Mass was never completed. We have the Kyrie, Gloria, Sanctus and Benedictus. The Credo is only partial, and the Agnus Dei missing altogether. Why did Mozart abandon it? A cooling of his faith or love perhaps? The baby Raimund Leopold died on 19 August 1783, and on 25 August the completed parts of the Mass were performed with Constanze taking part. Nannerl’s diary records the concert, and that her brother left afterwards. He lived another eight years, but this was the last time brother and sister ever saw each other. Mozart rescued most of the music to set to Italian words in the oratorio Davidde penitente. The great C minor torso stands as one of his supreme masterpieces.