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Wolfgang Amadeus Mozart (1756-1791)

Chrysostomus Wolfgangus Theophilus Mozart was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers.

Extra Tracks

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mozart clarinet quintet
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1st movement
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2nd movement
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3rd movement
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4th movement
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mass in c minor k 427
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1 Kyrie
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2 Gloria
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3 Credo
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4 Sanctus
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5 Benedictus
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mozart symphony number forty karajan
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1st movement
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2nd movement
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3rd movement
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4th movement
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mozart laudate dominum
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mozartnon piu andrei
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Mozart Serenade No. 11 in E flat major K.375
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mozart araia suzanne danco
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mozart araia suzanne danco
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mozart araia hilde gueden
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mozart araia hilde gueden
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mozart araia stich randal
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mozart araia stich randal
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mozart araia stich randal
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mozart araia stich randal
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idomeneo overture
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idomeneo sena jurinac
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idomeneo richard lewis
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idomeneo sena jurinac
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idomeneo richard lewis
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idomeneo dorothy macneil
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idomeneo richard lewis
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idomeneo sena jurinac
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idomeneo quartet
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idomeneo richard lewis
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marriage of figaro overture
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mass in c minor k 427
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1 Kyrie
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2 Gloria
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3 Credo
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4 Sanctus
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5 Benedictus
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quintet k 452
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1st movement
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2nd movement
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3rd movement
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mozart symphony number forty karajan
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1st movement
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2nd movement
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3rd movement
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4th movement
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Mozart Die Zauberflote Dies Bildnis ist bezaubernd schon - Wunderlich
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Mozart Die Entfuhrung Kinstanze dich wiederzusehen - Wunderlich
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Mozart Cosi Fan Tutte Der Odem der Liebe - Wunderlich
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Mozart Don Giovanni Nur ihrem Frieden weih' ich mein Leben - Wundelich
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mozart piano concerto number20 annie fischer
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1st movement
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2nd movement
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3rd movement
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mozart violin concerto number 3 oistrakh
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1st movement
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2nd movement
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3rd movement
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boyd neel Der Schauspieldirektor overture
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boyd neel Idmeneo overture
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muir mathieson eine kleine nachtmusik
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helen lawrence mozart
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jaan cross cosi fan tuutte per pieta
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 contains the same wide leaps which the original singer of the part, Ferrarese del Bene, was so easily able to negotiate, and which Joan Cross sings with perfect poise and great skill. It is a joy to hear so clean an attack and such steady tone. The singer is always in the centre of her notes and her phrasing is impeccable. There is, indeed, only room for criticism in regard to her diction and a rather bumpy trill. I am glad to say that the lovely orchestral accompaniment, which contains an obbligato for two horns that almost amounts to a little concerto, is recorded with due regard to its importance." Gramophone March 1947
muir mathieson cosi fan tutte overture
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leopold ludwig cosi fan tuutte overture
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furtwangler mozart eine kleiner nachtmusik
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mozart Quintet in E flat K 452
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1st movement
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2nd movement
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3rd movement
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mozart piano concerto number 14
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1st movement
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2nd movement
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3rd movement
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mozart piano concerto number 17
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1st movement
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2nd movement
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3rd movement
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clifford curzon mozart piano concerto number 23
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1st movement
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2nd movement
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3rd movement
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"...immaculately stylish...." Alan Sanders in Classical Recordings Quarterly Autum 2011
kathlen long mozart piano concerto nnumber 24
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1st movement
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2nd movement
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3rd movement
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"The balance between piano and orchestra, the clean, sensitive style of playing, the actual size of the orchestra, are all so right, so completely Mozartian in proportion that this recording can be held up as a model. All in all, this is one of the most satisfying performances I have heard for some time." Gramophone March 1949
mozart symphony 25 solti
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1st movement
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2nd movement
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3rd movement
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4th movement
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mozart symphony 29 davis
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1st movement
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2nd movement
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3rd movement
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4th movement
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mozart symphony number 31
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"Well-shaped, unexaggerated; and the recording not only starts well, but, most unusually, keeps it up right to the end ; the wonderful contrapuntal finale is not allowed to dissolve into a sea of mush, as so often seems to happen.....This is clearly a record for Mozartians. And if—strange thought—you are not yet a Mozartian, what better disc than this with which to begin ?" MM writing in The Gramophone June 1952
mozart symphony number 32
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mozart symphony number 35
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1st movement
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2nd movement
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3rd movement
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4th movement
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enrique jorda mozart symphony number 36
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mozart symphony 38 solti
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1st movement
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2nd movement
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3rd movement
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mozart symphony 39 davis
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1st movement
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2nd movement
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3rd movement
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4th movement
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weingartner conducts mozart
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1st movement
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2nd movement
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3rd and 4th movements
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By and large, this recording wins strong commendation - Gramophone September 1928
collins conducts mozart
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Bassoon Concerto K191

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Symphony No 40

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Symphony No 41 Jupiter

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Talking about mozart jupiter symphony
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mozart clarinet concerto
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"De Peyer plays the Clarinet Concerto most beautifully. The limpid tone and style will be the more universally winning because they are not associated with a vibrato, except of the most fractional nature and in the places crying out aloud for it ; and the finished technique speaks for itself, if sometimes rather readily--it is possible to feel in some of the more arresting phrases that de Peyer wishes to overtake the orchestra. In fact he doesn't, and Collins has succeeded in ensuring a most satisfactory and stylish ensemble ; though it may be that conductor and soloist found difficulty in agreeing on the elusive right tempo for the Rondo. Everywhere de Peyer adheres strictly to the notes Mozart wrote, or to the notes the early editions, possibly arranged, bequeathed to posterity ; and there are places where a little editing does improve the effect. Add a warm recording, and I have no hesitation whatever in thinking this the best version of the Concerto available." M.M. writing in the Gramophone February 1955
mozart coronation mass
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  • Kyrie and gloria listen and buy
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mozart piano concerto number 12
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" A strong, satisfying performance of one of the choicest, most highly individual concertos. It is richly recorded, in fine purity. The recording can be well recommended. Kentner is a good though not (so far as this recording shows) a superlative Mozartean. " Review in the Gramophone September 1940
mozart piano concerto number20 annie fischer
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1st movement
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2nd movement
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3rd movement
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mozart piano concerto number 23
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" Yet another Mozart piano concerto from Denis Matthews, this time the famous A major so notoriously difficult to bring off in a recording, or for that matter in performance. Readers who turn up my reviews of three earlier LP performances (Gieseking in December, Clifford Curzon in April, Liii Kraus in May) will find small content with any of them. This new Matthews disc strikes me as the best version available; but I would welcome it with all the reservations made before in the cases of his K.595, 414 and 49, reviewed this month and last. That is to say the performance is a gentle, grisaille one, without much vitality of rhythm or keenness of attack, a tasteful, delicate performance, neatly executed. Matthews uses Mozarts sketch of a cadenza in the first movement, plays the second as written (i.e. without filling in the gaps, as Liii Kraus did), and is so reticent in the finale that some of the notes in arpeggios which should surely sound brilliant disappear altogether. The orchestral support is tidy, pleasant in tone, rather undervitalised. The recording is agreeable, and in accord with the generally subdued effect." A.P. writing in the Gramophone November 1954
mozart serenade number 9
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  • 5th, 6th and 7th movements listen and buy
"It is no doubt an excellent thing to make a recording of Mozart's piece d'occasion, the Post Horn Serenade, so long as listeners realise that it is that, and no more - a charming, rather protracted, graceful work, written for the Archbishop of Salzburg in 1779, for some ceremony or other. Decca.'s sympathetic annotator admits, on the cardboard cover, that performance of the work 'was probably spread out over the evening with intervals between the movements'. I must confess I find the piece rather long to sit down and listen to at a sitting ; and I am convinced such listening was never intended by the composer. This is surely ideal background music -- the music a really cultured court would commission and use as an accompaniment to, say, an investiture like that in early April, where the Guards' band played softly in the gallery. Broadly, it may be said that Maag and Switzerland are more French, expressive, sensitive, alive to moods. Maag goes out for contrasts. There is a general reediness about the string tone, which warms up at times ; softer passages are better reproduced than louder, and give us much pleasant sound, with the right amount of back-echo. The drums are oddly uncertain in pitch, at one point sinking practically a whole tone. Wood-wind is good, in playing and reproduction ; but the post horn itself is produced like a rabbit out of a hat at a children's party, with far too much 'hey presto' and prominence. Maag puts himself out to make the most of Mozart's prettinesses, and has no fear of romanticising them. The Trio in II is pleasing. Both III and IV are treated with a delightful, gay insouciance, Frenchified almost but engaging, and definitely as if the score were marked expressif. This mood, like the one they give to V, suits the Suisse Romande players well. Orchestral balance is good, and the reproduced sound is fairly even as it reaches us, with few crackles and wobbles." H.F. writing in the Gramophone June 1952
mozart string quartet number 19
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mozart Wer Ein Liebchen Hat Gefunden
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With his ample (not amplified) tones and extended compass, Alexander Kipnis can do effortless justice to all those bass solos we know so well as having been favourites with the operatic audiences of a past era. And they can be favourites still when sung by artists of the Kipnis stamp ; we may be sure of that. HK reviwing in the Gramophone October 1931


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