Wolfgang Amadeus Mozart

“Uniquely treasurable and inspiring performances in ideal remastered sound." Gramophone

“Recorded live at Richter's beloved Aldeburgh in 1966, this issue shows an incomparable pianist at the height of his powers. Indeed, it would be difficult to imagine a more authentic yet personal voice in Prokofiev's Fourth and Scriabin's Ninth Sonatas. Richter carved out a special niche in Prokofiev's Fourth Sonata, the most cryptic and ambiguous of the series written in a language that can seem oddly exclusive and inaccessible to those born outside Russia. No other pianist has approached Richter in this work, in his capacity to clarify so much awkward writing while at the same time (in the central Andante assai) acknowledging a wholly individual utterance full of dark confidences and, in the finale, a forced gaiety alive with stiff virtuoso challenges resolved in a mock-triumphant coda.
Few performances of the Scriabin have been more stealthily mobile or breathed a more satanic menace. For once, directions such as avecune douceur de plus en plus caressante et empoisonnée are made meaningful rather than merely idiosyncratic or eccentric. Yet, in more amiable territory Richter is enviably poised, less remote or enigmatic in Mozart's G major Sonata, K283, than one might have expected. His opening Allegro is gently flowing and is memorably contrasted with his brilliantly vivacious finale.
The recordings have come up excellently, allowing us to appreciate Richter's range, unique empathy in Russian music and endlessly thoughtprovoking musicianship in all their glory.” Gramophone Classical Music Guide, 2010

“Very exciting and impressive... two familiar masterpieces sparkle and glow as if new-minted.” Hi-Fi News

“Alive, provocative and original, showing all the time the effects of [Norrington’s] enquiring musical intellect” Gramophone Magazine

“Thompson has established himself at once among my favorite exponents of these irresistible compositions.” Fanfare

“This isn't just an excellent bargain version of the horn concertos, superbly played and recorded, but a valuable example of Mozartian scholarship on disc. Michael Thompson, directing the Bournemouth Sinfonietta with point and flair, plays the four regular concertos in revised texts prepared by John Humphries, as well as offering reconstructions by Humphries of two movements, designed as the outer movements, an Allegro, K370b and a Rondo, K371, for an earlier horn concerto written soon after Mozart arrived in Vienna. The Rondo played here as the second- movement finale of K412 is Humphries' reconstruction from recently discovered sources, and is much more imaginative than the Süssmayr version. It's a revelation too in the most popular of the concertos, No-4, to have extra passages, again adding Mozartian inventiveness.
For example, the tutti in the first movement before the development section is extended in a charming few extra bars. Thompson, for 10 years the Philharmonia's first horn, isn't only technically brilliant, but plays with delectable lightness and point, bringing out the wit in finales, and the tenderness in slow movements.
As conductor and director, he also draws sparkling and refined playing from the Sinfonietta, very well recorded in clear, atmospheric sound.
An outstanding issue for both specialist and newcomer alike.” Gramophone Classical Music Guide, 2010

“Michael Thompson plays with delectable lightness and point, bringing out the wit in the finales, as well as the tenderness in slow movements. He also draws sparkling playing from the Bournemouth Sinfonietta...an ideal modern successor to the vintage Dennis Brain versions.” Penguin Guide, 2011 edition

“There are things to enjoy here.” Gramophone Magazine