"…Mozart's two piano quartets, however, are held as exemplars, for his solutions to the ensemble's unique problems of balance and cohesion are convincing and elegant. The players' roles shift constantly, each taking turns as the dominant part; the counterpoint is consistent and inventive, always maintaining a tension that interlocks the trio with the piano; and the pieces are as strongly characterized and richly developed as any of Mozart's other great chamber works. The Mozartean Players perform on pianoforte and period string instruments, and their tuning is a little lower than one hears on modern instruments. However, this lends warmth to the Piano Quartet No. 2 in E flat and a deeper sense of pathos to the Piano Quartet No. 1 in G minor. Both pieces are skillfully played, with a conversational tone appropriate to Mozart's intentions…"
Once in a while, we encounter recordings that—for lack of proper advocacy—are doomed to exist in the musical backwater. Their artistic merit is unquestionably beyond reproach and their sound quality is far in excess of the norm. This is one such recording. - Michael Carter
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.
What made Wolfgang Amadeus Mozart perhaps the most complete "musical package" in history—a man who created more masterpieces of virtually every musical genre of his day than any other composer before or since? There is perhaps no better way to explore this question than by studying his chamber music. Nowhere is Mozart's maturity and mastery more apparent than in the chamber music he wrote during the last 10 years of his life.
This is an opportunity to study and enjoy a variety of chamber works drawn primarily from Mozart’s "golden years" in Vienna, 1781–1791. The centerpiece of the course is the set of six Haydn string quartets that Mozart dedicated to his friend, the great Joseph Haydn. Across the span of the course, you will explore works that represent the three types of chamber music that Mozart composed: Any chamber group consisting, in whole or in part, of a string quartet: two violins, a viola, and a cello. The "piano plus" combination: works for keyboard and some other instrument or instruments. Everything else: combinations that employ neither a string quartet nor a piano.
Mozart was without a doubt one of Edvard Grieg's favourite composers. When his mother gave lessons or entertained family and friends for an evening of music, it was the music of Wolfgang Amadeus Mozart which made the greatest impression on him. During the winter of 1876/77 he arranged four of Mozart's nineteen piano sonatas for two pianos by adding his own, newlsy composed part. What is special about Grieg's adaptations of the Mozart sonatas is that he has not reworked them in the traditional - and perhaps derogatory - manner. Grieg's unusual achievement lies in the fact that he has retained Mozart's text unchanged, adding an entirely new part which can be performed together with the original. When both parts are played, they interweave and become something entirely new. Two different musical styles meet in dialogue, ending up in a symbiosis of colour and texture. Mozart's music expands in time and space. Grieg's additional piano part is a romantic's respectful embrace, a romantic commentary; Mozart in romantic guise.