Wolfgang Amadeus Mozart

From the FIFA World Player Gala on December 18th at the Zurich Opera

WQXR's Midday Masterpieces series comes to you live every Wednesday at 1 pm on our Facebook page: https://www.facebook.com/WQXRClassical/ Watch pianist David Greilsammer play Mozart's Fantasia in C Minor, K. 475. WQXR's Midday Masterpieces Host: Terrance McKnight Producers: Eileen Delahunty, Aaron Dalton & Christine Herskovits Video Producer: Kim Nowacki Audio Engineer: Irene Trudel Executive Producer: Martha Bonta

A historical production by Jean-Louis Martinoty, these "Nozze di Figaro" recorded in Paris and conducted by René Jacobs, first issued on DVD, are now available on DVD & Blu-ray ! Check out on Amazon : http://geni.us/XsZL Learn more on website : http://geni.us/oHgnn Subscribe to BelAir Classiques : http://bit.ly/2g1aCPA Follow on Facebook : http://bit.ly/BelAirFacebook Follow on Twitter : http://bit.ly/TwitterBelAir Follow on Instagram : http://bit.ly/InstaBelAir Recorded at the Théâtre des Champs-Elysées in June 2004, these Nozze di Figaro were unanimously acclaimed by public and critics alike as a Mozart opera landmark. Director Jean-Louis Martinoty brings an elegantly intelligent narrative sense to an interpretation in which the protagonists, against a backdrop of magnificent canvases of 18th-century inspiration, are dressed by Sylvie de Segonzac in a palette in which every shade is perfect. Hans Schavernoch’s set suggests an elitist society that is coming apart at the seams. René Jacobs’s conducting of Concerto Köln is meticulous and perfectly balanced, offering a ravishing use of tonal colour and orchestral dynamics. A veteran Almaviva, the excellent Pitero Spagnoli plays opposite Annette Dasch’s beauteous Countess. As Figaro and Susanna, Luca Pisaroni and Rosemary Joshua are a truly sparkling couple, while mezzo Angelika Kirchschlager embodies the most divinely troubling of Cherubino. The exceptional quality of this production, and the great success encountered by its first edition on DVD, inevitably led to the remastering in high-definition of this program, now and for the first time also available on Blu-ray. ******************************************************************* Opera in four acts Music : Wolfgang Amadeus Mozart (1756-1791) Libretto : Lorenzo Da Ponte Il Conte : Pietro Spagnoli La Contessa : Annette Dasch Susanna : Rosemary Joshua Figaro : Luca Pisaroni Cherubino : Angelika Kirchschlager Marcellina : Sophie Pondjiclis Antonio : Alessandro Svab Bartolo : Antonio Abete Don Basilio : Enrico Facini Barbarina : Pauline Courtin Don Curzio : Serge Goubioud Concerto Köln Conductor : René Jacobs Chorus of the Théâtre des Champs-Elysées Stage direction : Jean-Louis Martinoty Chorus master : Irene Kudela

Sonya Yoncheva and Alfredo Daza singing "Là ci darem la mano" from Mozart's "Don Giovanni" accompanied by Giuseppe Mentuccia during the Rolex "Perpetual Music" Concert at Staatsoper Unter den Linden in Berlin. You may watch the complete concert on Medici.tv clicking on the following link: https://www.medici.tv/en/concerts/rolex-gala-sonya-yoncheva/

Julia Lezhneva sings "Exsultate, jubilate" from Mozart's "Exsultate, jubilate, K165" Want to receive updates from us? Sign up to our monthly Newsletter: https://deccaclassics.lnk.to/NewsletterID Browse our store: https://DeccaClassics.lnk.to/StoreID Follow us on social media: Facebook - https://decca.lnk.to/DeccaClassicsFacebookID Twitter - https://decca.lnk.to/DeccaClassicsTwitterID Instagram - https://decca.lnk.to/DeccaClassicsInstagramID Spotify - https://decca.lnk.to/DeccaClassicsSpotifyID Apple Music - https://decca.lnk.to/DeccaClassicsAppleID

The Piano Concerto No. 23 in A major (K. 488) is a musical composition for piano and orchestra written by Wolfgang Amadeus Mozart. It was finished, according to Mozart's own catalogue, on March 2, 1786, around the time of the premiere of his opera, The Marriage of Figaro. It was one of three subscription concerts given that spring and was probably played by Mozart himself at one of these. The concerto is scored for piano solo and an orchestra consisting of one flute, two clarinets, two bassoons, two horns and strings. In Mozart's later works the wind instruments are equal to the stringed instruments, and this is also the case in this concerto. It has three movements: 1. Allegro in A major and common time. 2. Adagio in F-sharp minor and 6/8 time (in later editions, the tempo is listed as Andante). 3. Allegro assai in A and alla breve (in later editions, the tempo is listed as Presto). In Rondo form. The first movement is mostly sunny and positive with the occasional melancholic touches typical of Mozart pieces in A major and is in sonata form. The piece begins with a double exposition, the first played by the orchestra, and the second when the piano joins in. The first exposition is static from a tonal point of view and is quite concise, the third theme is not yet revealed. The second exposition includes the soloist and is modulatory. It is also includes the third previously unheard third theme. The second exposition is ornamented as opposed to the first exposition which is not. The second theme has harmonic tension. This is expressed by dissonances that are played on the beat, and then solved by an interval of a second going downwards. This is also expressed in the use of chromatics in the melody and bass lines which is a cause for harmonic tension, as the listeners anticipate the arrival of the tonic. The second, slow movement, in ternary form, is melancholic and somewhat operatic in tone. The piano begins alone with a theme characterized by unusually wide leaps. This is the only movement by Mozart in F sharp minor. The dynamics are soft throughout most of the piece. The middle of the movement contains a brighter section in A major announced by flute and clarinet that Mozart would later use to introduce the trio "Ah! taci ingiusto core!" in his opera Don Giovanni. The third movement is a vigorous and cheerful rondo, shaded by moves into other keys as is the opening movement (to C major from E minor and back during the secondary theme in this case, for instance) and with a central section whose opening in F sharp minor is interrupted by a clarinet tune in D major, an intrusion that reminds us, notes Girdlestone, that instrumental music at the time was informed by opera buffa and its sudden changes of point of view as well as of scene. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D

Mozart Piano Concerto No 23 A major K 488 Maurizio Pollini, piano Karl Böhm , Wiener Philharmoniker

Wolfgang Amadeus Mozart: Concierto para piano y orquesta nº 23, en la mayor, K 488 Allegro (00:23) Adagio (11:23) Allegro assai (17:39) Orquesta Sinfónica de Galicia Christian Zacharias, piano y director Grabación realizada en el Palacio de la Ópera de A Coruña el 29 de mayo de 2013. Realización de Antonio Cid www.sinfonicadegalicia.com https://twitter.com/osggalicia https://www.facebook.com/sinfonicadegalicia

Daniil Trifonov and the Israel Camerata Orchestra performing Mozart - Concerto no 23 in A major k 488 at the Arthur Rubinstein Piano Master Competition (Tel Aviv). Conducted by Avner Biron. Since its inception in 1974, the Arthur Rubinstein International Piano Master Competition is one of the foremost Piano Competitions in the world. Arthur Rubinstein, who gave his blessing to the competition, headed the jury of the first two competitions (1974 & 1977). The competition, is held every three years in Tel Aviv, Israel. Subscribe for more classical piano music videos: http://www.youtube.com/AthurRubinstein http://www.arims.org.il

00:00 - Allegro 11:43 - Adagio 19:10 - Allegro assai Murray Perahia English Chamber Orchestra 1984

Mozart's Clarinet concerto in A major, K. 622 was written in 1791 for the clarinetist Anton Stadler. It consists of the usual three movements, in a fast-slow-fast form: 1. Allegro 2. Adagio and 3. Rondo: Allegro. It was also one of Mozart's final completed works, and his final purely instrumental work (he died in the December following its completion). The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part). Mozart originally wrote the work for basset clarinet, a special clarinet championed by Stadler that had a range down to low (written) C, instead of stopping at (written) E as standard clarinets do. As most clarinets could not play the low notes which Mozart wrote to highlight this instrument, Mozart's publisher arranged a version of the concerto with the low notes transposed to regular range, and did not publish the original version. This has proven a problematic decision, as the autograph no longer exists, having been pawned by Stadler, and until the mid 20th century musicologists did not know that the only version of the concerto written by Mozart's hand had not been heard since Stadler's lifetime. Once the problem was discovered, attempts were made to reconstruct the original version, and new basset clarinets have been built for the specific purpose of performing Mozart's concerto and clarinet quintet. There can no longer be any doubt that the concerto was composed for an extended-range clarinet. In this context it is worth noting two other works written for Stadler and his instrument by composers closely linked to the Mozart-Stadler circle that used the extended range of Stadler's instrument: the clarinet concerto by Franz Xaver Süssmayr (famous for having completed Mozart's Requiem) and that by Joseph Leopold Eybler. In recent years, the restored original version has been recorded by a number of different artists. The concerto was given its premiere by Stadler in Prague on October 16, 1791. Reception of his performance was generally positive. The Berlin Musikalisches Wochenblatt noted in January of 1792, "Herr Stadeler, a clarinettist from Vienna. A man of great talent and recognised as such at court... His playing is brilliant and bears witness to his assurance." There was some disagreement on the value of Stadler's extension; some even faulted Mozart for writing for the extended instrument. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D

Clarinet: Robert Marcellus Conductor: George Szell Orchestra: Cleveland Orcherstra 00:00 - first movement 12:26 - second movement 20:15 - third movement

Iceland Symphony Orchestra Cornelius Meister, conductor Arngunnur Árnadóttir, clarinet Wolfgang Amadeus Mozart: Clarinet Concerto in A major, K.622 0:00 - Allegro 0:27 - Adagio 12:58 - Rondo (Allegro) 20:07 From Iceland Symphony's concert, Harpa, Reykjavík, September 10th 2015.

NEW 2018: Ravel. AMAZING Daphnis and Chloe https://youtu.be/UCpD_mTS_t4 NEW 2017: American in Paris. https://youtu.be/RUMJPlQwa50 NEW! Stunnig performance of this amazing orchestra! Smetana: The Moldau: https://youtu.be/l6kqu2mk-Kw NEW! Crazy performance of Slavonic Dances: https://youtu.be/HJnh5MHgTh Gimnazija Kranj Great Christmas Concerto 2011: Ode to the Joy and Belongings. Gimnazija Kranj Great Symphony Orchestra. Solo clarinet: Nadja Drakslar. The legendary Concert in Gallus Hall of Cankarjev Dom was sold out in record time. Nadja is first clarineto player in orchestra. Conductor: Nejc Bečan. Concert direction: Primož Zevnik. Clarinet Concerto K.622: 1. Allegro; 2. Adagio; 3. Rondo Allegro Veliki božični koncert Gimnazije Kranj 2011: Oda radosti in hrepenenju. Koncert, posvečen glasbi germanskega sveta. Solo klarinet: Nadja Drakslar; dirigent: maestro Nejc Bečan; režija in koncept: Primož Zevnik. Sponzor koncerta: Hranilnica Lon.

W.A. Mozart: Clarinet Concerto in A, K.622 Los Angeles Virtuosi Orchestra Carlo Ponti, conductor Juan Gallegos, clarinet For more information, please visit: http://www.lavirtuosi.org

Wolfgang Amadeus Mozart's Piano Sonata No. 8 in A minor, K. 310/300d, written in 1778 is a sonata in three movements: 1. Allegro maestoso, common time 2. Andante cantabile con espressione, F major, 3/4 3. Presto, 2/4 A typical performance takes about 22 minutes. The A minor sonata is the first of only two Mozart piano sonatas to have been composed in a minor key (the other being the No. 14 in C minor, K. 457). Written around the time of the death of Mozart's mother, it is one of the darkest of his sonatas. The last movement in particular has an obsessive, haunted quality about it, heightened near the end by the interruption of the relentless drive to the conclusion by repeated and chilling quiet falling passages. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D

Grigory Sokolov: Mozart Piano Sonata No. 8 in a-minor KV 310 1. Allegro maestoso [0:00] 2. Andante cantabile con espressione [8:33] 3. Presto [19:09] This work was on his program from February until December 2012. From "Mozart's piano sonatas" by Paul and Eva Badura-Skoda (from the web site of Henle Verlag, www.henle.de): Mit der a-Moll-Sonate wird plötzlich ein Abgrund aufgerissen. Alfred Einstein dürfte recht gehabt haben, wenn er annahm, dass diese Sonate unter dem Eindruck des Todes der Mutter in Paris entstanden sein muss und wenn er damit die in dieser Sonate ausgedrückte Tragik erklärt. ERSTER SATZ Allegro maestoso ist der erste Satz überschrieben, und er beginnt auch mit einem wahrhaft majestätischen Thema. Früher galt ja der punktierte Rhythmus als Symbol des Majestätischen und wurde von Mozarts Zeitgenossen als solches verstanden. Die unerbittlich klopfenden Akkorde der orchestralen Begleitung freilich zeigen keine festliche, sondern viel eher eine dämonische, düstere Majestät: Ein ständiges Hin und Her zwischen Aufbäumen und Resignation oder Verzweiflung charakterisiert diesen ersten Satz. Die Vorschlagsnoten im 2. und 4. Takt des ersten Thema sind sicherlich jeweils „lang" zu nehmen. Anstelle eines zweiten Themas steht (ab Takt 23) [0:44] eine durchgehende Sechzehntel-Bewegung, der eine polyphonierende Zweistimmigkeit in der linken Hand ab Takt 28 [0:53] folgt. Die letzten fünf Takte der Exposition [1:24] bringen nochmals den punktierten Rhythmus des Hauptgedankens. In der Durchführung [3:07] bricht dann ein Sturm los, wie er nicht seinesgleichen hat, weder bei Mozart noch in der Klaviermusik seiner Zeit. Ganz ungewöhnlich ist dabei der vorgeschriebene dynamische Kontrast zwischen ff und pp und danach wieder ff, wie Mozart ihn für die drei Wellen der Durchführung vorzeichnete. Spezielle Beachtung verdienen zwei verminderte Septimenakkorde in Takt 126/127 [5:31], die in der Klassik-Epoche immer Ausdruck höchster Tragik und Erschütterung bedeuteten. ZWEITER SATZ Wunderbar ist dann der milde Trost, das ruhige „Schreiten der Grazien" im zweiten Satz dieser Sonate [5:47], ein Andante cantabile con espressione in F-Dur, das mit Würde zu spielen ist. Trotz einer lyrischen Grundstimmung vermittelt dieser ausdrucksvolle Satz etwas leidenschaftlich-Großartiges und ist somit weit entfernt von der warmen und graziösen Innigkeit anderer Mittelsätze in einer Dur-Tonart. Ein zweites Thema (ab Takt 15) [9:53] erinnert mit seinen Tonwiederholungen im Aufbau übrigens deutlich an das Seitenthema im zweiten Satz der Symphonie KV 201. Die großartige Steigerung in der Durchführung mit dem Höhepunkt in Takt 43-49 [15:10] erweckt natürlich Reminiszenzen an die Durchführung des ersten Satzes. Umso schöner ist dann die Rückkehr zum trostreichen Hauptthema und zur Reprise [16:00]. DRITTER SATZ Der dritte Satz [19:07] führt wieder in die düstere Stimmung des ersten Satzes zurück, nur dass er anstelle der orchestralen Dramatik nur eine im presto-Tempo dahinhuschende schattenhafte Darstellung des tragischen Grundaffekts gibt. Anders als Beethoven kennt Mozart in den Finali seiner Moll-Sonaten und Symphonie nicht oder nur selten die Befreiung in strahlendes Dur, die Überwindung der Tragik durch die Freude. Schicksalshaft kehren die meisten seiner Moll-Stücke nach Dur-Episoden in die Stimmung des Anfangs zurück. So ist es auch hier. Dieser Presto-Satz ist eines der düstersten Stücke, die Mozart je geschrieben hat, mit einem merkwürdigen Wechsel von Aufbäumen und Verzweiflung. Nur einmal wird in diesem Satz eine subtil zarte, lichte Vision der Seligkeit in A-Dur, eine Fata Morgana, kurz sichtbar; danach kehrt die Stimmung der Verzweiflung und Resignation vom Anfang zurück. Trotzig und energisch schließt der Satz in a-Moll. The sheet music is freely available at imslp.org. This edition is Breitkopf & Härtel, Leipzig 1878 (public domain: free from copyrights).

Support us on Patreon and get more content: https://www.patreon.com/classicalvault --- Wolfgang Amadeus Mozart Piano Sonata No 8 in A minor, K 310 1 Allegro maestoso 2 Andante cantabile con espressione 3 Presto Claudio Arrau, piano

Wolfgang Amadeus Mozart's String Quartet No. 15 in D minor K. 421/417b, the second of the Quartets dedicated to Haydn and the only one of the set in a minor key, is believed to have been completed in 1783. The quartet is, however, undated in the autograph. It is in four movements: 1. Allegro moderato 2. Andante (F major) 3. Menuetto and Trio (the latter in D major). Allegretto 4. Allegretto ma non troppo The first movement is characterized by a sharp contrast between the aperiodicity of the first subject group, characterized by Arnold Schoenberg as "prose-like," and the "wholly periodic" second subject group. In the Andante and the Minuet, "normal expectations of phraseology are confounded." The main part of the Minuet is in minuet sonata form, while "the contrasting major-mode Trio ... is ... almost embarrassingly lightweight on its own ... [but] makes a wonderful foil to the darker character of the Minuet." The last movement is a set of variations. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D

The St. Petersburg String Quartet Music Mountain 84th Season Underwritten by Edward R Hamilton Bookseller Company www.edwardrhamilton.com

The quartet is set in 4 movements: 1. Allegro (0:00) 2. Andante (12:05) 3. Menuetto: Allegretto (19:25) 4. Allegretto ma non troppo (23:11) Composed in Vienna in June 1783. Published as Op. 10 No. 2 in 1785 with a dedication to Joseph Haydn. http://en.wikipedia.org/wiki/String_Quartet_No._15_(Mozart) Performers: Mosaïques Quartet.

Wolfgang Amadeus Mozart's String Quartet No. 15 in D minor K. 421/417b, the second of the Quartets dedicated to Haydn and the only one of the set in a minor key, is believed to have been completed in 1783. The quartet is, however, undated in the autograph. It is in four movements: 1. Allegro moderato 2. Andante (F major) 3. Menuetto and Trio (the latter in D major). Allegretto 4. Allegretto ma non troppo The first movement is characterized by a sharp contrast between the aperiodicity of the first subject group, characterized by Arnold Schoenberg as "prose-like," and the "wholly periodic" second subject group. In the Andante and the Minuet, "normal expectations of phraseology are confounded." The main part of the Minuet is in minuet sonata form, while "the contrasting major-mode Trio ... is ... almost embarrassingly lightweight on its own ... [but] makes a wonderful foil to the darker character of the Minuet." The last movement is a set of variations. Wolfgang Amadeus Mozart (27 January 1756 -- 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years." Free video background: http://www.free-video-footage.com Creative Commons license: Public Domain.

MOZART - (FULL) String Quartet No. 15 in D Minor, K 421 - High Quality Classical Music by Czech National Symphony Orchestra Wolfgang Amadeus Mozart's String Quartet No. 15 in D minor, K. 421/417b is the second of the Quartets dedicated to Haydn and the only one of the set in a minor key. Though undated in the autograph, it is believed to have been completed in 1783. Constanze says rising string figures in the second movement corresponded to her cries from the other room. http://en.wikipedia.org/wiki/String_Quartet_No._15_%28Mozart%29 Wolfgang Amadeus Mozart (27 January 1756 -- 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years. http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart musique classique, klassische Musik, 古典音乐, 고전 음악, música clásica, शास्रीय संगीत, musik klasik, musica classica, クラシック音楽, klassieke muziek, klassisk musikk, música clássica, muzică clasică, классическая музыка, класична музика, klassisk musik, klasická hudba, เพลงคลาสสิค, klasik müzik, класична музика, nhạc cổ điển, موسيقى كلاسيكية

The quartet is set in 4 movements: 1. Adagio - Allegro (0:00) 2. Andante cantabile (14:00) 3. Menuetto: Allegro (22:10) 4. Allegro (28:29) Composed in Vienna and dated January 14, 1785. Published in 1785 as Op. 10 No. 6 with a dedication to Joseph Haydn. http://en.wikipedia.org/wiki/String_Quartet_No._19_(Mozart) Performers: Mosaïques Quartet.

The String Quartet No. 19 in C Major, KV. 465 by Wolfgang Amadeus Mozart, nicknamed "Dissonance" on account of its unusual slow introduction, is perhaps the most famous of his quartets. It is the last in the set of six quartets composed between 1782-1785 that he dedicated to Joseph Haydn. According to the catalog of works Mozart began early the preceding year, the quartet was completed on January 14, 1785. As is normal with Mozart's later quartets, it is in four movements: 1. Adagio-Allegro 2. Andante cantabile - in F major 3. Menuetto. Allegro. (C major, trio in C minor) 4. Allegro molto The first movement opens with ominous quiet Cs in the cello, joined successively by the viola (on A♭ moving to a G), the second violin (on E♭) and the first violin (on A), thus creating the "dissonance" itself and narrowly avoiding a greater one. This lack of harmony and fixed key continues throughout the slow introduction before resolving into the bright C major of the Allegro section of the first movement, which is in sonata form. Mozart goes on to use chromatic and whole tone scales to outline fourths. Arch shaped lines emphasizing fourths in the first violin (C - F - C) and the violoncello (G - C - C' - G') are combined with lines emphasizing fifths in the second violin and viola. Over the barline between the second and third measures of the example a fourth-suspension can be seen in the second violin's tied C. In another of his string quartets, KV 464, such fourth-suspensions are also very prominent. The second movement is in sonatina form, i.e. lacking the development section. Alfred Einstein writes of the coda of this movement that "the first violin openly expresses what seemed hidden beneath the conversational play of the subordinate theme." The third movement is a minuet and trio, with the exuberant mood of the minuet darkening into the C minor of the trio. The last movement is also in sonata form. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D

MOZART - (FULL) String Quartet No.19 in C Major, K465 Dissonance - High Quality Sound Complete Classical Music HD (music in public domain) HQ The String Quartet No. 19 in C Major, K. 465 by Wolfgang Amadeus Mozart, nicknamed "Dissonance" on account of its unusual slow introduction, is perhaps the most famous of his quartets. It is the last in the set of six quartets composed between 1782 and 1785 that he dedicated to Joseph Haydn. According to the catalog of works Mozart began early the preceding year, the quartet was completed on January 14, 1785. http://en.wikipedia.org/wiki/String_Quartet_No._19_%28Mozart%29 Wolfgang Amadeus Mozart (27 January 1756 -- 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years. http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart musique classique, klassische Musik, 古典音乐, 고전 음악, música clásica, शास्रीय संगीत, musik klasik, musica classica, クラシック音楽, klassieke muziek, klassisk musikk, música clássica, muzică clasică, классическая музыка, класична музика, klassisk musik, klasická hudba, เพลงคลาสสิค, klasik müzik, класична музика, nhạc cổ điển, موسيقى كلاسيكية

Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only minor key symphonies Mozart wrote. The 40th Symphony was completed on 25 July 1788. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani. The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony: 1. Molto allegro, 2/2 2. Andante, 6/8 3. Menuetto. Allegretto -- Trio, 3/4 4. Finale. Allegro assai, 2/2. Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form. This work has elicited varying interpretations from critics. Robert Schumann regarded it as possessing "Grecian lightness and grace". Donald Francis Tovey saw in it the character of opera buffa. Almost certainly, however, the most common perception today is that the symphony is tragic in tone and intensely emotional; for example, Charles Rosen (in The Classical Style) has called the symphony "a work of passion, violence, and grief." Although interpretations differ, the symphony is unquestionably one of Mozart's most greatly admired works, and it is frequently performed and recorded. Ludwig van Beethoven knew the symphony well, copying out 29 measures from the score in one of his sketchbooks. It is thought that the opening theme of the last movement may have inspired Beethoven in composing the third movement of his Fifth Symphony. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D

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A Mozart Gala from the Berlin State Opera (Deutsche Staatsoper) Staatskapelle Berlin Julien Salemkour - conductor Wolfgang Amadeus Mozart - Symphony No. 40 in G minor, K. 550 0:00 Entrance 0:28 I. Molto allegro 7:38 II. Andante 15:10 III. Menuetto (Allegretto) 19:28 IV. Finale (Allegro assai) Watch the full concert: http://www.youtube.com/watch?v=FcJh6q1LFMU&list=PLBjoEdEVMABLzF6uwYF8cITMIFeF4DyhM

- Movements - 1. Molto allegro: 0:00 2. Andante: 6:00 3. Menuetto (Allegretto - Trio): 13:39 4. Finale - Allegro assai: 18:14 Performed by the Czech National Symphony Orchestra. For some reasons, the first few seconds of the second movement have been omitted. Sheet music: http://imslp.org/wiki/Symphony_No.40_in_G_minor,_K.550_(Mozart,_Wolfgang_Amadeus)

I. Molto allegro [0:00] II. Andante [8:27] III. Menuetto. Allegretto - Trio [16:32] IV. Allegro assai [21:18] Berliner Philharmoniker Karl Böhm

The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death. It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself. The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir. At the time of Mozart's death on 5 December 1791, only the opening movement (Requiem aeternam) was completed in all of the orchestral and vocal parts. The following Kyrie and most of the sequence (from Dies Irae to Confutatis) were complete only in the vocal parts and the continuo (the figured organ bass), though occasionally some of the prominent orchestral parts were briefly indicated, such as the violin part of the Confutatis and the musical bridges in the Recordare. The last movement of the sequence, the Lacrimosa, breaks off after only eight bars and was unfinished. The following two movements of the Offertorium were again partially done; the Domine Jesu Christe in the vocal parts and continuo (up until the fugue, which contains some indications of the violin part) and the Hostias in the vocal parts only. The Sussmayr completion of the Requiem is divided into fourteen movements, with the following structure: I. Introitus: Requiem aeternam (choir and soprano solo) II. Kyrie eleison (choir) III. Sequentia (text based on sections of the Dies Irae): -Dies irae (choir) -Tuba mirum (soprano, contralto, tenor and bass solo) -Rex tremendae majestatis (choir) -Recordare, Jesu pie (soprano, contralto, tenor and bass solo) -Confutatis maledictis (choir) -Lacrimosa dies illa (choir) IV. Offertorium: -Domine Jesu Christe (choir with solo quartet) -Versus: Hostias et preces (choir) V. Sanctus: -Sanctus Dominus Deus Sabaoth (choir) -Benedictus (solo quartet, then choir) VI. Agnus Dei (choir) VII. Communio: -Lux aeterna (soprano solo and choir) Mozart esteemed Handel and in 1789 he was commissioned by Baron Gottfried van Swieten to rearrange Messiah. This work likely influenced the composition of Mozart's Requiem; the Kyrie is probably based on the And with his stripes we are healed chorus from Handel's Messiah (HWV 56), since the fugato, in which Handel was a master, is the same, with only slight variations by adding ornaments on melismata. Some believe that the Introitus was inspired by Handel's Funeral Anthem for Queen Caroline (HWV 264), and some have also remarked that the Confutatis may have been inspired by Sinfonia Venezia by Pasquale Anfossi. Another possible influence may be Michael Haydn's Requiem in C minor; as the Introitus sounds rather similar to Mozart's. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D

Wolfgang Amadeus Mozart: Requiem in D minor (K.626) -- Live Version. I. Introitus: Requiem aeternam (choir with soprano solo) (0:00) II. Kyrie (choir) (5:28) III. Sequentia: - Dies irae (choir) (7:55) - Tuba mirum (solo quartet) (10:02) - Rex tremendae majestatis (choir) (13:47) - Recordare, Jesu pie (solo quartet) (16:22) - Confutatis maledictis (choir) (22:13) - Lacrimosa dies illa (choir) (24:32) * IV. Offertorium: - Domine Jesu Christe (choir with solo quartet) (27:48) - Versus: Hostias et preces (choir) (31:23) V. Sanctus & Benedictus: - Sanctus (choir) (35:46) - Benedictus (solo quartet and choir) (37:46) VI. Agnus Dei (choir) (42:50) VII. Communio: - Lux aeterna (soprano solo and choir) (46:03)

-- Schiller Institute Conference Attaining Freedom Through Necessity: THE LAST CHANCE FOR HUMANITY Frankfurt, Germany April 13-14, 2013 -- http://newparadigm.schillerinstitute.com

Mozart: Requiem Mass in D minor, K. 626 14 movements 1. Introitus 2. Kyrie Eleison 3. Sequentia: Dies irae 4. Sequentia: Tuba mirum 5. Rex tremendae majestatis 6. TSequentia: Recordare, Jesu pie 7. Sequentia: Confutatis 8. Sequentia: Lacrimosa 9. Offertorium: Domine Jesu Christe 10. Offertorium: Hostias et preces 11. Sanctus: Sanctus Dominus Deus Sabaoth 12. Sanctus: Benedictus 13. Agnus Dei 14. Communio Directed By – Hendrik Timmerman Soprano Vocals – Rob Petri Bass Vocals – Gerard Rooker Countertenor Vocals – Jan Brink Tenor Vocals – Robert Overpelt Choir – Noordhollands Jongenskoor And Koorschool Of The "Grote Of St. Laurenskerk", Alkmaar, Holland . . . AMEN

- Composer: Wolfgang Amadeus Mozart (27 January 1756 -- 5 December 1791) - Orchestra: English Baroque Soloists - Choir: Monteverdi Choir - Conductor: John Eliot Gardiner - Soloists: Barbara Bonney (soprano), Anne Sofie von Otter (contralto), Hans Peter Blochwitz (tenor), Willard White (bass) - Year of recording: 1990 Requiem in D minor for soloists, chorus & orchestra, K. 626, written in 1791. This version is the Süssmayr completion of the Requiem, with the following structure: 00:00 - I. Introitus: Requiem aeternam (choir and soprano solo) 04:44 - II. Kyrie eleison (choir) ----- III. Sequentia: (text based on sections of the Dies Irae) 07:15 - Dies irae (choir) 09:01 - Tuba mirum (soprano, contralto, tenor and bass solo) 12:09 - Rex tremendae majestatis (choir) 14:20 - Recordare, Jesu pie (soprano, contralto, tenor and bass solo) 19:02 - Confutatis maledictis (choir) 21:17 - Lacrimosa dies illa (choir) ----- IV. Offertorium: 24:05 - Domine Jesu Christe (choir with solo quartet) 27:38 - Versus: Hostias et preces (choir) ----- V. Sanctus: 31:35 - Sanctus Dominus Deus Sabaoth (choir) 32:58 - Benedictus (solo quartet, then choir) 38:12 - VI. Agnus Dei (choir) ----- VII. Communio: 41:25 - Lux aeterna (soprano solo and choir) The Requiem was composed in Vienna in 1791 and left unfinished at the composer's death on the 5th of December. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem mass to commemorate the 14th of February anniversary of his wife's death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, the bulk of this copy derives from the hand of Franz Süssmayr. The Requiem contains five sections, each capped by a fugue: Requiem/Kyrie, Sequence ("Dies Irae"), Offertory, Sanctus, and Agnus Dei. Throughout, choral writing drives Mozart's music; even the four soloists rarely sing alone. The darkly colored orchestra supports the choir with often vivid motives. This pictorial aspect is most evident in the Sequence: "Tuba mirum" (solo trombone), "Rex tremendae" (regal dotted-rhythms), "Confutatis" (fiery accompaniment), and "Lachrymosa" (sighing strings). Not only do individual movements display an extraordinary level of motivic unity, Mozart carefully creates motivic relationships across the entire Requiem. The very first melody sung by the basses ("Requiem aeternam"), for instance, is repeated at the very end and also echoes throughout the work; the opening melody of "Dies irae" translates into major mode to open the "Sanctus." Mozart is never afraid, however, of acknowledging his debt to earlier traditions of church music. His fugues deliberately reference Bach, and in the first movement alone he quotes from Michael Haydn's Requiem, Handel's funeral anthem for Queen Caroline, Messiah, and the Gregorian chant known as the "Pilgrim's Tone."

Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt], English see fn.), name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 -- 5 December 1791), was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years... http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart The Magic Flute (German: Die Zauberflöte, K. 620) is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue. The work premiered in 1791 at Schikaneder's theater, the Freihaus-Theater auf der Wieden in Vienna... http://en.wikipedia.org/wiki/The_Magic_Flute A link to this wonderful artists Website: http://www.classicalarchives.com/mozart.html Please Enjoy! I send my kind and warm regards,

Herbert von Karajan (German pronunciation: [ˈhɛɐbɛɐt fɔn ˈkaʁaˌjan]; born Heribert, Ritter von Karajan; 5 April 1908 – 16 July 1989) was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 35 years. He is generally regarded as one of the greatest conductors of the 20th century, and he was a dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records. Karajan was born in Salzburg, Austria-Hungary, as Heribert Ritter von Karajan. He was a child prodigy at the piano. From 1916 to 1926, he studied at the Mozarteum in Salzburg with Franz Ledwenke, theory with Franz Zauer, and composition with Bernhard Paumgartner. He was encouraged to concentrate on conducting by Paumgartner, who detected his exceptional promise in that regard. In 1926 Karajan graduated from the conservatory and continued his studies at the Vienna Academy, studying piano with Josef Hofmann (a teacher with the same name as the pianist) and conducting with Alexander Wunderer and Franz Schalk. In 1929, he conducted Salome at the Festspielhaus in Salzburg and from 1929 to 1934 Karajan served as Kapellmeister at the Stadttheater in Ulm. His senior colleague in Ulm was Otto Schulmann. After Schulmann was forced to leave Germany in 1933, Karajan became first Kapellmeister. Karajan's career was given a significant boost in 1935 when he was appointed Germany's youngest Generalmusikdirektor and performed as a guest conductor in Bucharest, Brussels, Stockholm, Amsterdam and Paris. In 1938 Karajan made his debut with the Berlin Philharmonic and the Berlin State Opera, conducting Fidelio. He then enjoyed a major success at the State Opera with Tristan und Isolde. Karajan joined the Nazi Party in Salzburg on 8 April 1933; his membership number was 1,607,525. In June 1933, the Nazi Party was outlawed by the Austrian government. However, Karajan's membership was valid until 1939. In that year the former Austrian members were verified by the general office of the Nazi Party. Karajan's membership was declared invalid but his accession to the party was retroactively determined to have been on 1 May 1933. Karajan's prominence increased from 1933 to 1945, which has led to speculation that he joined the Nazi Party solely to advance his music career. In 1946, Karajan gave his first post-war concert in Vienna with the Vienna Philharmonic, but he was banned from further conducting activities by the Soviet occupation authorities because of his Nazi party membership. That summer he participated anonymously in the Salzburg Festival. In 1949, Karajan became artistic director of the Gesellschaft der Musikfreunde, Vienna. He also conducted at La Scala in Milan. in 1951 and 1952, he conducted at the Bayreuth Festspielhaus. In 1956, he was appointed principal conductor for life of the Berlin Philharmonic as successor to Wilhelm Furtwängler. He conducted and recorded prolifically, mainly with the Berlin Philharmonic and the Vienna Philharmonic. Although he conducted other orchestras (including the NHK Symphony Orchestra, the New York Philharmonic, the Concertgebouw Orchestra, the Orchestre de Paris and the Orchestra of La Scala, Milan) the vast majority of his recordings were made with the Berlin and Vienna orchestras with which he was most associated. He also left a considerable legacy of recordings with the Philharmonia Orchestra, his last performance being in 1960. Although he made recordings with several labels, notably EMI, it is Deutsche Grammophon with which he became most associated. He made 330 recordings with the label during his career. In his later years, Karajan suffered from heart and back problems, needing surgery on the latter. He increasingly came into conflict with his orchestra for an all-controlling dictatorial style of conducting that had vanished from use everywhere else. Karajan resigned as the Principal Conductor of the Berlin Philharmonic on April 24, 1989. His last concert was Bruckner's 7th Symphony with the Vienna Philharmonic. He died of a heart attack in his home in Anif[1] on 16 July 1989 at the age of 81... https://en.wikipedia.org/wiki/Herbert_von_Karajan A link to this wonderful artists personal website: http://www.allmusic.com/artist/herbert-von-karajan-mn0000031181/discography I send my kind and warm regards, Please Enjoy!

モーツァルト『魔笛』序曲／コリン・デイヴィス Mozart / "Die Zauberflote (The Magic Flute)" overture / Sir Colin Davis / Royal Opera / 2003

Mozart - großartig gespielt

Wolfgang Amadeus Mozart (1756-1791) DIE ZAUBERFLÖTE (The Magic Flute), K. 620 OVERTURE BBC Philharmonic JOHN STORGÅRDS, conductor Recording: Royal Concert Hall, Nottingham, March 3, 2010

1 of 4 The famed lyric tenor sings Belmonte's first aria from the 1965 recording of Die Entführung aus dem Serail, with Jochum conducting, and Köth and Böhme in the cast.

Nicolai Gedda sings "Hier soll ich dich denn sehen" from Die Entführung aus dem Serail

Provided to YouTube by Hungaroton Die Entfühlung aus dem Serail: Aria - Hier soll ich dich denn sehen · Wolfgang Amadeus Mozart · József Réti · Liszt Ferenc Chamber Orchestra, Budapest · György LEHEL · Chamber Orchestra of the Liszt Ferenc Academy of Music Wie stark ist nicht dein Zauberton ℗ 1989 HUNGROTON RECORDS LTD. Released on: 1989-07-15 Auto-generated by YouTube.

Ryland Davies（BELMONTE) singing Aria "Hier soll ich dich denn sehen" with The London Philharmonic Orchestra conducted by Gustav Kuhn. BELMONTE Hier soll ich dich denn sehen; Konstanze! dich mein Glück! Laß Himmel es geschehen! Gib mir die Ruh zurück. Ich duldete der Leiden O Liebe! allzuviel! Schenk mir dafür nun Freuden Und bringe mich ans Ziel! Aber wie soll ich in den Palast kommen? - Wie sie sehen? - Wie sprechen?

Teatro La Fenice Musikàmera stagione di musica da camera alla Fenice 2017/18 Rafał Blechacz in recital Wolfgang Amadeus Mozart - Sonata No. 8 in A minor, K. 310 00:23 Allegro maestoso 05:59 Andante cantabile 15:47 Presto

24 January 1976 Das Symphonie Orchester Berlin at the Berlin Philharmonic Hall Thomas Mayer, conductor

Mozart : Symphonie Concertante for oboe, clarinet, horn, bassoon, and orchestra, in E flat, K. 297b (Anh. C 14.01). 近衛秀麿(子爵)　Viscount Hidemaro Konoye (Konoe)（1898-1973） Berlin Philharmonic Orch. Erich Venzke(Oboe), Alfred Burkner(Clarinet) Martin Ziller(Horn), Oskar Rothensteiner(Basoon)　 recorded 1/4, 1937 transfer from Jpn Columbia 78s / J-8692/5(CRX-46/52)

The Queen of the Night aria from Mozart's "Magic Flute" sung by Albina Shagimuratova at Teatro alla Scala di Milano