Mozart In Vienna - Mozart in Vienna - COMPACT DISCS [CD]

Mozart - Walter at Met [COMPACT DISCS] date 12/01/2007

Album Tracks 1. Allegro 2. Adagio 3. Allegro Assai 4. Allegro - Arthur Grumiaux 5. Andante Cantabile - Arthur Grumiaux 6. Rondo. Andante Grazioso - Arthur Grumiaux 7. Recitativo and Rondo 'Chi'o Mi Scordi Di Te' for Soprano Accompanied By Orchestra and Obbligato Piano KV 505 8. Allegro 9. Romanze 10. Allegro 1. Allegro Vivace 2. Andantino 3. Allegro Ma Non Troppo 4. Allegro - Henryk Szeryng 5. Adagio - Henryk Szeryng 6. Rondeau. Allegro - Henryk Szeryng 7. Rondo 'Per Pieta, Non Ricerate' Tor Tenor and Orchestra KV 420 - Peter Pears 8. Arie 'Si Mostra la Sorte' for Tenor and Orchestra KV 209 - Peter Pears 9. Allegro 10. Andante 11. Rondo. Allegro

Mozart may have died heavy in debt, having encountered much fickleness on the part of the Viennese audiences and struggled to find suitable permanent employment for most of his career, but today his music is celebrated the world over; he is considered one of music history's greatest names, the vast majority of his works enjoying regular performances and being constantly reinterpreted by amateurs and top professionals alike. Stretching from his earliest years (Mozart started composing at the age of five) right through to his final days, this wonderful compendium traverses the full gamut of his output, covering the time spent in Salzburg working for his employer, the Archbishop Colloredo, the extensive travel he undertook during the 1760s and 1770s (which was in part to showcase his prodigious talents on the keyboard and violin, together with his talented sister Nannerl), and his later years in Vienna, to which he escaped in 1781 - against his father's wishes - to pursue a freelance career and where he married Constanze Weber the following year. What becomes evident from this set is that Mozart packed a phenomenal amount into his 35 years, a life that was often dominated by obsessive overwork, particularly towards the end. Moreover, there was not a genre akin to the period that he neglected nor did not achieve success in (in this collection the works are ordered as such, traversing orchestral music, chamber music, solo instrumental music, sacred music and vocal music), and in many cases he effected transformation, attaining new artistic levels - this is particularly evident in the piano concertos that begin the compendium, remarkable for their diversity of character, and the concluding mature operas, works that achieved new depths of characterisation. A more varied, colourful output you could not find, one that is enhanced in this by the multitude of talented performe