Clarinet Concerto in A major, K. 622: Rondo, Allegro
Oboe Concerto in C major, K. 314 (K. 285d): Allegro aperto
Oboe Concerto in C major, K. 314 (K. 285d): Adagio ma non troppo
Oboe Concerto in C major, K. 314 (K. 285d): Rondeau (Allegro)
Track Listings (10) - Disc #2
Concerto for flute, harp & orchestra in C major, K. 299 (K. 297c): Allegro
Concerto for flute, harp & orchestra in C major, K. 299 (K. 297c): Andantino
Concerto for flute, harp & orchestra in C major, K. 299 (K. 297c): Rondeau, Allegro
Andante for flute & orchestra in C major, K. 315 (K. 285e)
Bassoon Concerto in B flat major, K. 191 (K. 186e): Allegro
Bassoon Concerto in B flat major, K. 191 (K. 186e): Andante ma Adagio
Bassoon Concerto in B flat major, K. 191 (K. 186e): Rondo, Tempo di Menuetto
Flute Concerto No. 1 in G major, K. 313 (K. 285c): Allegro maestoso
Flute Concerto No. 1 in G major, K. 313 (K. 285c): Adagio ma non troppo
Flute Concerto No. 1 in G major, K. 313 (K. 285c): Rondeau, Tempo di Menuetto
Track Listings (10) - Disc #3
Horn Concerto No. 3 in E flat major, K. 447: Allegro
Horn Concerto No. 3 in E flat major, K. 447: Romance, Larghetto
Horn Concerto No. 3 in E flat major, K. 447: Allegro
Horn Concerto No. 2 in E flat major, K. 417: Allegro maestoso
Horn Concerto No. 2 in E flat major, K. 417: Andante
Horn Concerto No. 2 in E flat major, K. 417: Rondo
Rondo for horn & orchestra in E flat major (fragment), K. 371
Horn Concerto No. 4 in E flat major, K. 495: Allegro moderato
Horn Concerto No. 4 in E flat major, K. 495: Romanza, Andante
Horn Concerto No. 4 in E flat major, K. 495: Rondo, Allegro vivace
It would be hard to find more appealing treatments of Mozart's wind concertos than these from Christopher Hogwood and the Academy of Ancient Music, featuring a distinguished group of period-instrument soloists. Leading the... more » way, and playing a deliciously mellow-sounding basset clarinet, Anthony Pay gives a splendid account of what is surely Mozart's most beautiful concerto, the Clarinet Concerto in A, K. 622. Pay's shadings are soft and natural, his embellishments simply marvelous, and he and Hogwood are right on the mark when it comes to tempo, expression, and accent. Another delight is the spirited and expressive playing of Lisa Beznosiuk, both in the Flute Concerto, K. 313, and in the Concerto for Flute and Harp, K. 299, where she shares solo honors with Frances Kelly. Michel Piguet is a formidable soloist in the Oboe Concerto, K. 314, and Danny Bond achieves wonders with a period instrument in the Bassoon Concerto, K. 191. Not to be outdone, Anthony Halstead delivers crisp, athletic work in the various concertos and concerto movements for horn, and manages to get a wonderfully fat tone from both of his instruments, modern copies of valveless period horns. Hogwood and the Academy give dependably bold, energetic readings across the board, their playing full of verve in the tuttis and suitably transparent in the quiet pages. While the recordings, made between 1984 and 1993, are all quite good, the works for horn benefit from a particularly effective engineering job, with sound that is exceptionally well balanced and silky. --Ted Libbey« less
It would be hard to find more appealing treatments of Mozart's wind concertos than these from Christopher Hogwood and the Academy of Ancient Music, featuring a distinguished group of period-instrument soloists. Leading the way, and playing a deliciously mellow-sounding basset clarinet, Anthony Pay gives a splendid account of what is surely Mozart's most beautiful concerto, the Clarinet Concerto in A, K. 622. Pay's shadings are soft and natural, his embellishments simply marvelous, and he and Hogwood are right on the mark when it comes to tempo, expression, and accent. Another delight is the spirited and expressive playing of Lisa Beznosiuk, both in the Flute Concerto, K. 313, and in the Concerto for Flute and Harp, K. 299, where she shares solo honors with Frances Kelly. Michel Piguet is a formidable soloist in the Oboe Concerto, K. 314, and Danny Bond achieves wonders with a period instrument in the Bassoon Concerto, K. 191. Not to be outdone, Anthony Halstead delivers crisp, athletic work in the various concertos and concerto movements for horn, and manages to get a wonderfully fat tone from both of his instruments, modern copies of valveless period horns. Hogwood and the Academy give dependably bold, energetic readings across the board, their playing full of verve in the tuttis and suitably transparent in the quiet pages. While the recordings, made between 1984 and 1993, are all quite good, the works for horn benefit from a particularly effective engineering job, with sound that is exceptionally well balanced and silky. --Ted Libbey
CD Reviews
A must-buy for the Mozart or period music fan
03/14/2000
(5 out of 5 stars)
"Quite simply, you haven't heard Mozart's wind concerti until you've heard this recording. This is as close as you can get to hearing the music as Mozart wrote it to be played. For instance, in the oboe concerto, concessions to the period style and Mozart's original score _must_ be made due to the sheer physical limitations of the original two-keyed instrument used in the recording, made in 1783. In the horn concerti, the tone color difference between the stopped and unstopped notes is remarkable; you can't get this kind of drastic effect on a modern valved instrument (although some might wonder if you'd _want_ to get this effect ;). Nonetheless, it provides a unique window into both late 18th century playing style and Mozart's compositional genius.However, not only do the period instruments do justice to the timbres Mozart himself heard and used, but the use of 18th century original and reproduction instruments allows the _original_ editions of Mozart's music to be used. The ever popular Clarinet Concerto in A was, in fact, written for the deeper ranged basset horn (aka basset clarinet) in A, not a "regular" clarinet. Hence, all editions for clarinet must transpose several passages up an octave to avoid the lower notes of the basset horn not covered by the clarinet. This fundamentally changes the character of whole sections of the piece.Finally, the musicians in this recording have made conscious choices in playing style not directly dictated by their instruments, from basic articulations and phrasing to trills and slurs, so that they perform the music in period late 18th century style. Those familiar with "modern" appoggiaturas, for instance, might be surprised at how they would have been originally played. All in all, if you like Mozart, you want this recording, even if you already own a modern edition of his wind concerti."
Excellent collection of beautiful works
03/13/2000
(5 out of 5 stars)
"Hogwood and the AAM offer their usual excellent performances for these beautiful pieces on authentic instruments. The sound quality of the recordings is also excellent. Mozart's wind concertos are quite relaxing - if you like Mozart's style, you'll like this set."
Mozart: The Wind Concertos
Larry D. Floyd | McIntosh, AL USA | 01/13/2001
(5 out of 5 stars)
"I am partial to Hogwood and AAM for their interpretations of Mozart's works. The clarinet and oboe concertos with Pay and Piguet in particular are "reference standard" class. The flute and harp are very pleasing to listen to. The horn concerto is the weakest of the three (I'm stilling waiting for another Dennis Brain I guess), but this 3-CD set is still a particularly good value. For example, the single title "Mozart: Clarinet Concerto, Oboe Concerto / Hogwood", is listed by ...... for ...."
Another fine recording from Hogwood and the AAM
Larry D. Floyd | 01/11/2003
(5 out of 5 stars)
"These concertos are important additions to anyone's Mozart collection. Excellent performances on period instruments, extremely informative liner notes, clear, balanced, superb digital recordings.... everything we have come to expect from Christopher Hogwood and the Academy of Ancient Music. Highly recommended"
Track Listings (6) - Disc #1