In the mid-18th century a composition bearing the name Sinfonia concertante captivated audiences at large public concerts in Paris, London and Mannheim. In many ways akin to a solo concerto, symphonies with the participation of a group of solo instruments were seen primarily as an alternative to the usual orchestral symphony – somewhat lighter in content, but far more virtuoso and showy by nature…

Little is known about Giuseppe Ferlendis who was appointed oboist at the court of Archbishop of Salzburg Prince Hieronymus Colloredo on April 1, 1777. But irrespective of whether Ferlendis was a profound or average musician, his appearance in Salzburg orchestra inspired young Wolfgang Amadeus Mozart to create one of his rare compositions with solo oboe: Concerto in C major KV 314…

After having recorded Mozart’s last three violin concertos in 2014, Arabella Steinbacher, the Festival Strings Lucerne and its leader Daniel Dodds now complete the cycle by presenting Mozart’s less well-known, but equally enchanting Violin Concertos 1 & 2, together with his Adagio in E Major and Rondos in C Major and B-flat Major…

Up to and including Mozart, one important task for every composer not employed by the Church was to entertain. Much of Mozart’s best-loved music consists of occasional works intended for receptions and parties, balls and banquets, ceremonies and celebrations. These pieces are known to us under a number of different names: serenades, divertimenti, Nachtmusik and notturni…

Jascha Heifetz was, probably, the greatest twentieth-century exponent of his instrument. Violin at its best, although some memorable recordings are … more memorable than others…

The Afflatus Quartet’s second album features classical repertoire by Beethoven and Mozart. The distinguished ensemble members create a rich, full sound on this wonderful disc…

Founded in 1921, The Netherlands Bach Society is the oldest Early Music ensemble in the Netherlands, and possibly in the whole world. Yet along with the musicians, its artistic director Jos van Veldhoven is still continually in search of contemporary ways of presenting this music, whether it be the traditional performances of the St. Matthew Passion in Naarden, other works by Johann Sebastian Bach (1685-1750) or music by his predecessors, successors, contemporaries and fellow spirits.

Helmchen has returned to Mozart with these beautiful performance of two of the composer's liveliest concertos, Nos. 15 and 27. Crystalline pianism throughout, with splendid accompaniment from the fine Dutch orchestra and conductor Nikolic. Well-balanced audio, with natural balance between soloist and orchestra are another plus. Another Mozart concerto easily could have been included; playing time is rather brief.

This issue completes Cooper’s and Podger’s collected recordings of Mozart’s music for keyboard and violin. At first sight, Volumes 7 and 8 might seem to consist of leftovers – Vol 8 devoted to a set of six sonatas (K10-15) written in London when Mozart was eight, and Vol 7, apart from the two variation sets composed shortly after he settled in Vienna, containing a sonata dating from his 1766 stay in The Hague, plus two fragments, completed after Mozart’s death by Maximilian Stadler. In the event, however, both CDs are full of interest.

The duo partnership Gary Cooper & Rachel Podger has taken them worldwide. These recordings of Mozart’s Complete Sonatas for Keyboard & Violin have received countless awards & accolades, including multiple Diapason d’Or awards & Gramophone Editor’s Choices, & hailed as ‘benchmark’ recordings.

The duo partnership Gary Cooper & Rachel Podger has taken them worldwide. These recordings of Mozart’s Complete Sonatas for Keyboard & Violin have received countless awards & accolades, including multiple Diapason d’Or awards & Gramophone Editor’s Choices, & hailed as ‘benchmark’ recordings.

The duo partnership Gary Cooper & Rachel Podger has taken them worldwide. These recordings of Mozart’s Complete Sonatas for Keyboard & Violin have received countless awards & accolades, including multiple Diapason d’Or awards & Gramophone Editor’s Choices, & hailed as ‘benchmark’ recordings.

It is immediately evident from the Overture that the orchestral sound is going to be rich and ponderous, and, although Harnoncourt works wonders in varying the dynamics and getting the rhythms to dance…the effect is more suggestive of those gigantic mid-Victorian Handel events in the Crystal Palace than anything that Mozart, let alone Handel, could have imagined.

Anyone thinking of Mozart as a performer probably imagines him at a harpsichord or fortepiano, an accurate picture. Mozart was a gifted keyboard player, but not a showman of the keyboard. He detested empty virtuosity. Wolfgang, however, had been trained from his earliest years by his father Leopold as a double talent. He played both harpsichord & violin. The popularity of his sonatas, variation sets, & concerti for the piano has tended to overshadow his violin compositions, but the 1st sounds that his baby ears received probably came from his father’s violin…