Mozart: Requiem/Maurerische Trauermusik

1. Requiem for soloists, chorus, and orchestra, K. 626
Composed by Wolfgang Amadeus Mozart
with BBC Singers , BBC Singers , Maldwyn Davies , Judith Howarth , London Mozart Players , Diana Montague , Stephen [bass] Roberts

2. Maurerische Trauermusik for orchestra in C minor (Masonic Funeral Music), K. 477 (K. 479a)
Composed by Wolfgang Amadeus Mozart
with BBC Singers , BBC Singers , Maldwyn Davies , Judith Howarth , London Mozart Players , Diana Montague , Stephen [bass] Roberts

Tracks:

Symphony No. 25 In G Minor, (1st Movement)
Stabat Mater; Quando Corpus Morietur And Amen
Bubak And Hungaricus
Serenade For Winds, (3rd Movment)
The Abduction From The Seraglio, (Turkish...)
The Abduction From The Seraglio (Chorus Of...)
Caro Mio Bene
Mass In C Minor
Concerto For Flute And Harp, (2nd Movement)
Concerto For Two Pianos, (3rd Movement)

Tracks:

Symphony No. 29 In A, (1st Movemnet, Allegro Mod.)
Piano Concerto In E Flat, (3rd Movement)
The Marriage Of Figaro, Act III, Ecco La Marcia
The Marriage Of Figaro, Act IV, Ah Tutti Contenti
Axur, Finale
Piano Concerto In D Minor, (1st Movement)
Zaide; Aria, Rhue Sanft
Don Giovanni, Act II, Commendatore Scene
Eine Kleine Nachtmusik, Serenade, (1st Movement)

Tracks:

Symphonie Concertante, (1st Movement)
Masonic Funeral Music
The Magic Flute, Overture
The Magic Flute, Aria (No. 14), Queen Of The Night
Six German Dances
Introitus, (Orchestral Introduction)
Dies Irae
Rex Tremendae Majestatis
Confutatis
Lacrymosa
Piano Concerto In D Minor, (2nd Movement) Romanza

Amazon.com

Director Milos Forman's rewarding 1984 film adaptation of playwright Peter Shaffer's Tony-winning play won no fewer than 10 Academy Awards (including Best Film, Best Actor, and Best Director); only Wolfgang himself (and his filmic counterpart, Tom Hulce) seemed to get overlooked by the Academy. This expanded three-disc set contains all of Sir Neville Marriner's crisp, accurate readings of the excerpted Mozart symphonies, concertos, serenades, and operas (including marvelous portions of The Abduction of Seraglio, Don Giovanni, and The Magic Flute) used in the film. The success of Amadeus spurred a long-overdue renaissance of interest in classical music, and one would be hard-pressed to find a richer, more concise introduction to the intoxicating music and frustrating bundle of moral contradictions that was Wolfgang Amadeus Mozart. --Jerry McCulley

Customer Reviews:

Mozart for everyone!.......2007-07-20

Unlike an in depth study of his genius, this is a very well put together sampler of Mozart. Performance and sound quality are both excellent. The non Mozart selections included in the set are also very enjoyable. My only wish is that the 3 disc set were a 10 disc set. Enjoy

"Genius".......2007-02-02

This is a GREAT CD! It has wonderful music from the movie "Amadaeus" which is the BEST movie ever! This music is so fine that it lifts your heart into happiness when you listen to it. You can just tell immediately that this is "the voice of God". And for one man to make such wonderful music in a flash, its just pure genius.

Thanks to the wonderful music that a talented man has brought to us.

A true celebration of Mozart's music.......2006-10-22

I think it was at age 12 when I first saw Amadeus, and I remember immediately asking for a recording of the Requiem (a bit of sombre for a 12-year old I know, but just to demonstrate the impact of the piece..), but I think it wasn't until the third time that I saw the film (at age 30, if you were wondering) that something hit me; It's hard to say why only now (maturity?), since I've always loved Mozart's music and have already owned several recordings of the Requiem, Bohm's 35-41 symphonies and Arthur Grumiaux's wonderful violin concertos with the Sinfonia Concertante. But appreciating the movie as an adult was a different experience, recognizing what a fabulous work Marriner and his Academy have done by delivering so successfully what Mozart was all about. I think that the brilliance of this recording is that it succeeds in providing Mozart's essence through emphasis on the hidden gems of his music, while avoiding being another banal "Greatest Hits" compilation; and sewing together such a diverse array of pieces so gracefully into one recording is not a trivial task, but in Marriner's case it seems completely flawless - because what holds all the pieces here together is what this music is all about - grace, beauty, humor and love.

This needs to have a 10 star rating!.......2006-01-20

There are many great composers, but Wolfie's music is just incredible. There are a few of his operas that I don't care for but most of it is pure bliss to listen to. Do yourself a huge favor and purchase this CD or the gold extended version. You won't be sorry-unless you don't have any taste. In which case, there is nothing the rest of us can do to help you. But the local pharmacist might. . .

Top-Chart Album of the 80's That Made Classical Music Sell !!.......2005-07-31

In 1984, Milos Forman's film Amadeus, based on the hit Broadway play by Peter Schaffer, made it to the big screen with resounding success nationwide. When the soundtrack was released, it was a top seller and even found itself selling as much as such popular 80's artists as Madonna. The music from this well-made film, mostly Mozart but used some Classical-Era works by Salieri, Pergolesi and Salieri- hooked young people into classical music when they might have otherwise never given it a chance.

In the film, Mozart's music is used for dramatic effect and for ambiance. Vienna in the 1780's was the home of a blooming musical scene that would later see the likes of Beethoven. This musical kingdom is well captured in the soundtrack, which features tantalizing excerpts from Mozart's most illustrious works. The film opens to the frenzied, dark strains of the 1st movement of the 25th Symphony, as a crazed Salieri is taken from his home to a mental asylum after an attempted suicide. It goes on to use the religious music of Pergolesi Ave Verum and Amen - boys chorus as Salieri contemplates a life of chastity and dedication to music if God grants him talent. Then we leave Salieri's world of spirituality and desire for fame when we are introduced to the young Mozart. The Serenade for Winds "Gran Partita" is heard - an oboe, clarinets, "like a rusty squeezebox" and fills the air with sublime serenity. This coming from a composer who began his career at the age of 4 who was already trained in piano and violin, and who in his teens composed symphonies and operas. Salieri's works are no longer heard as Mozart's brilliant music takes over the score. We hear breathaking slices of his famous operas in chronologically composed order- the German opera Abduction From The Seraglio which was composed for the soprano Katerina Cavalieri (who has a fling wit Mozart and whom Salieri desired for himself), Figaro's Wedding and Finale from Le Nozze Di Figaro and the dramatic Commandatore Dinner Scene from Don Giovanni, and lastly the Queen of the Night Aria and Papageno's Aria from his enchanting and spiritual work The Magic Flute. Further to these famous works, which also include the Piano Concerto in D No. 20- which prefigured Romantic piano concertos of Beethoven flair, and the Eine Kleine Nachtmusiz which is Mozart's most famous tune and signature theme, we are treated to rare works in Mozart's ouevre. This includes the Masonic Funeral March, a funeral piece Mozart wrote for his fellow Masons. Divertimenti is heard in a latter scene in which Mozart's wife Constanza escapes her woes with Mozart and indulges in a spa. Chamber works, the heartwarming Flute concerto and even the rare Salieri opera Axur (then considered the greatest opera ever made, according to Emperor Joseph) all make up for a great recording album. This album now exists in extended form for the Bicentennial. The movie is a perfect companion to this album.

Mozart: Requiem, Ave Verum Corpus, etc. / Norrington, London Classical Players, et al

Average customer rating:

Radical, rapid tempi, beautifully recorded
Like Hearing the Masterpiece the First Time
Agree with him or not - Norrington is always interesting!
Norrington does it again IMHO

Mozart: Requiem, Ave Verum Corpus, etc. / Norrington, London Classical Players, et al
Roger Norrington , Schutz Choir of London , Nancy Argenta , Catherine Robbin , John Mark Ainsley , and Alistair Milnes
Manufacturer: Virgin Records Us
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Mozart - Requiem / Ziesak, Maultsby, R. Croft, D. Arnold, Boston Baroque, Pearlman
Mozart - Requiem / Kirkby · Watkinson · Rolfe Johnson · D. Thomas · AAM · Hogwood
Mozart: Requiem in D Minor, K. 626 [Hybrid SACD with CD-ROM track of Mozart's Original Manuscript]
Mozart: Ave Verum
Mozart - Requiem / Augér, Bartoli, Cole, Pape, Wiener Phil., Solti

ASIN: B00000I3VZ
Release Date: 1999-02-09

Tracks:

Maurerische Trauermusik, K477 (479a)
I. Introitus: Requiem Aeternam
II. Kyrie
III. Sequenz: Dies Irae
III. Sequenz: Tuba Mirum
III. Sequenz: Rex Tremendae
III. Sequenz: Recordare
III. Sequenz: Confutatis
III. Sequenz: Lacrimosa
III. Sequenz: Amen
IV. Offertorium: Domine Jesu
IV. Offertorium: Hostias
V. Sanctus Et Benedictus: Sanctus - Osanna I
V. Sanctus Et Benedictus: Benedictus - Osanna II
VI. Agnus Dei
VII. Communio: Lux Aeterna - Cum Sanctis Tuis
Ave Verum Corpus, K618

Customer Reviews:

Radical, rapid tempi, beautifully recorded.......2005-01-08

With all the controversy stirred up by Christopher Hogwood’s and Roger Norrington’s recordings of Mozart’s Requiem, it is perhaps necessary to remind oneself right from the start that Mozart only actually completed the first two movements of his Requiem, somewhere between six and eight minutes of music. Anyone who wants to perform or record more, is therefore forced to use material that is not “pure Mozart”. It has become something of a custom to use the version prepared by Eybler, Freystädler, Stadler and Süßmayr at the behest of Mozart’s widow, who needed the cash she would receive for the complete Requiem; but there is no reason why anyone should not go back to Mozart’s notes and finish them himself, or, alternatively, re-work the version prepared by Mozart’s pupils (and normally termed the Süßmayr version). Personally, I own four different recordings of Mozart’s Requiem, and all of them make a very good job of delivering the particular goods that their conductors have decided on.

The Süßmayr version was recorded in 1985 by the Slovak Philharmonic Choir and Orchestra directed by Zdeněk Košler. The CD subsequently appeared on Naxos, although Naxos did not exist in 1985, so the recording must originally have been made for another label. At budget price, this is an excellent performance, and particular credit should be given to the soloists Magdaléna Hajóssyová, soprano, Jaroslava Horská, alto, Josef Kundlák, tenor, and Peter Mikuláš for their convincing contributions. The choir suffers somewhat from the acoustics of the Concert Hall in Bratislava, but heard on the right equipment, this is a marvellous effort that demonstrates why many people love and/or prefer the Sußmayr version.

The period instrument or historical performance practice experts are all very critical of Süßmayr, presumably because their musicological training makes it plain to them that Süßmayr was not always a brilliant executor of Mozart’s will and that Mozart himself would probably have chosen other solutions. Nikolaus Harnoncourt, on his second recording of the Requiem (this time on an SACD for BMG/Deutsche Harmonia Mundi, recorded in 2003), uses the Beyer version, a re-working of the Süßmayr that tries to avoid the obvious weaknesses of Süßmayr but retains a lot of what he wrote. Harnoncourt’s tempi are relaxed, and he emphasizes the dramatic; where his disc really comes into its own is on the excellent “three-dimensional” sound that can be heard even on the CD track of the hybrid disc.

Christopher Hogwood and his Academy of Ancient Music took the most radical path and recorded the Requiem (in 1983) in a truncated form prepared by C. R. F. Maunder, who decided to eradicate as much of Süßmayr as he could and rather to leave out whole movements than to use music that was not by Mozart. As in his other recordings of Mozart’s sacred music, Hogwood used boy sopranos in his choir – and was otherwise assisted by top-class early music soloists (here: a radiant Emma Kirkby, Carolyn Watkinson, Anthony Rolfe-Johnson and David Thomas) and the superb Decca engineering team. The result is a rather baroque-sounding Requiem that needs a little getting used to – but what a tremendous recording, what a glorious sound!

Roger Norrington’s 1991 version adopts a similarly radical approach, using the version of the Requiem prepared by Duncan Druce, who also plays the violin on the recording and wrote the liner notes. Norrington uses female sopranos, but otherwise he is strictly historical (although unfortunately the booklet does not give any details of the instruments used or of the choral forces employed). Druce does not discard Süßmayr’s work completely, but radically rewrites it using Mozart’s notes. The result is a “light”, transparent version, excellently performed by Norrington’s wonderful team, including soloists Nancy Argenta, Catherine Robbin, John Mark Ainsley and bass Alastair Milnes who definitely has the edge over David Thomas from the Hogwood disc. Norrington/Druce go for relatively fast tempi in most movements, occasionally seeming to bring in a dance-like feeling which may not seem entirely appropriate. But having listened to this beautifully-recorded disc a number of times, I have come to the conclusion that if I were only allowed to keep one recording of Mozart’s Requiem it would probably be this one, although the choice would certainly not be easy. At all events, this is a disc that makes you really sit up and listen. And perhaps it will also motivate you to listen to other attempts at realising Mozart’s great unfinished Requiem. I can only recommend all the version I have mentioned here.

Like Hearing the Masterpiece the First Time.......2002-11-24

In the midst of recent musicological research, study has yielded countless new completions of Mozart's Requiem: Beyer, Landon, Maunder, Levin, etc. One of the more rare completions is performed here, edited by Duncan Druce.

Druce's edition comes third in a trio of the more extreme completions of the Requiem. Maunder, Levin, and Druce all go as far as to add an Amen fugue based on a Mozart sketch and to completely rewrite (or in Maunder's case, omit) the Sanctus, Benedictus, and Hosanna. But of the three, Druce's idea is the most extreme.

What we have here is the most convincing edition of the Mozart Requiem to date. Hearing Norrington's record is like hearing the great masterpiece for the first time. Suessmayr's original edition is not found here, as Druce has thoroughly replaced his lines. The result is rather exciting.

The record actually opens with the Masonic Funeral Music (K 477) to set an atmosphere. Although it is taken as a slightly faster pace than usual, Norrington conveys an elegiac air. Norrington's tempos are overall moderate (which is a surprise coming from a Historically Informed conductor whose recordings such as Don Giovanni are taken at a rather quick pace.) The Tuba Mirum and Recordare are not rushed. The Dies Irae and Rex Tremendae are paced steadily. These are the kinds of tempos you would expect from a more modernistic perspective, which is a good thing.

After the adrenalized new Dies Irae, the winds form a pompous accompaniment to the beginning of the Tuba Mirum. The completion of this movement and the Recordare is rather graceful. While the trumpets and timpani are taken out of the Confutatis, the movement does not lose it's weightiness (which happens often in the Levin completion) as the new wind accompaniment to the Confutatis creates a kind of mesmerizing effect. The centerpiece of Druce's effort is in the Lacrymosa, which is composed anew after bar 8. The two sections in the new Lacrymosa reserved exclusively for the winds effectively recalls Mozart's chamber and Masonic music. The transition to the Amen fugue is masterful and dramatic, although the overall completion of the fugue is not as convincing as Levin's. Both are very good, however, and Druce's completion is somewhat more exciting and climactic as the trumpets and timpani resound as each of the four voices are introduced into the fugue. (I regret however that I do like Levin's realization of the fugue much better, as Druce errs in ingnoring the fugue's countersubject for most of the time.)

Likewise the Sanctus, Benedictus, and Hosanna, are not completed as convincingly as Levin's (who modeled the Hosanna fugues after the Hosanna fugues in Mozart's C-Minor mass). But these are exciting nonetheless. Druce adds an introduction to the Lux Aeterna and Norrington uses the famous Ave Verum Corpus (K 618) to bring the record to a close.

The solosts, choir, and orchestra are first rate.

Highly recommended. If the new editions of Mozart's Requiem interest you, you should try:

The Maunder Edition:
-Hogwood, Academy of Ancient Music, London.
The Levin Edition:
-Pearlman, Boston Baroque, Telarc.
-Labadie, La Chapelle Quebec, Dorian Records.
-Rilling, Bach Collegium, Hanssler.
-Mackerras, Scottish Chamber Orchestra

Agree with him or not - Norrington is always interesting!.......2002-07-09

Norrington cares deeply about music and about music making. He wants to dig into things very deeply and to challenge our perceptions and expectations about works. Some people love him and others hate his approach. Few are neutral.

I started diskliking his challenge of what I thought I knew. Then I re-thought and decided that I appreciate what he is after.

This recording is quite special. The sound is terrific and the approach to this version is quite interesting. Rather than use the traditional Suessmayr version, Norrington uses the newly re-edited (and composed) Duncan Druce edition.

Remember, the Requiem was incomplete and rather sketchy when Mozart died. Suessmayr hacked some things together that were passed off as Mozart and recent scholarship has tried to get to the real Mozart. This recording probably gets us as close as we are going to be able to get. It is a terrific effort.

Norrington does it again IMHO.......2001-09-25

If you've never heard a Roger Norrington arrangement, then you are really missing out. He goes to great lengths to try and reproduce (sometimes controversially) a sound as close as possible to what the composers intended. His renditions of the Beethoven symphonies are unsurpassed.

With the infamous Requiem, I can say that I've never heard it presented this way before. This CD is worth it for what I feel is the best and most powerfully recorded "Dies Irae".

Tracks:

Agnus Dei - Winchester Cathedral Choir
Masonic Funeral Music K 477 - London Classical Players
Introit - Jeffrey Francis
Kyrie - Jeffrey Francis
Lacrimosa - Jeffrey Francis
Pavane Op. 50 - English Chamber Orchestra
Aralarren - Benat Achiary
Juliet's Funeral And Romeo's Death - Royal Liverpool Philharmonic Orchestra
2. Largo - Jonathan Rees
The Lark Ascending - London Chamber Orchestra
The Death Of Ase - Berliner Philharmoniker
Chorus: 'Ruht Wohl' - Taverner Consort & Players

Tracks:

Funeral March - London Philharmonic Orchestra
2. Stabat Mater - Veronique Gens
3. Eia Mater - Veronique Gens
Elegie For Cello & Orchestra In C Minor Op. 19 - English Chamber Orchestra
4. Adagietto - Finnish Radio Symphony Orchestra
2. Adagio - Sinfonia Varsovia
Chorus: 'Wie Der Hirsch Schreit Nach Frischem Wasser' - London Symphony Chorus
Aria 'Es Ist Vollbracht' - Stephanie Blythe
3. Allegretto - London Classical Players
Libera Me - Angela-Maria Blasi
In Paradisum - Ensemble Vocal & Instrumental De Lausanne

Serene Spirit: Divine Harmonies for Mind and Soul

Average customer rating:

Great Compilation, excellent remastering, and a DG label

Serene Spirit: Divine Harmonies for Mind and Soul

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

The Departed (Two-Disc Special Edition)

ASIN: B0002U9G94
Release Date: 2005-01-11

Tracks:

Adagio In G Minor For Strings And Organ - Orpheus Chamber Orchestra
Ave Verum Corpus K. 618 - Symphonieorchester Des Bayerischen Rundfunks
Air - Berliner Philharmoniker
Vocalise - The Moscow State Chamber Choir
Largo E Spiccato - Karl Richter
Libera Me - Bryn Terfel
Pastorale (Largo) - Berliner Philharmoniker
Laudate Dominum - Cecilia Bartoli
Heilig, Heilig, Heilig - Symphonieorchester Des Bayerischen Rundfunks
Berceuse - London Festival Orchestra
Pie Jesu - Cecilia Bartoli
Sanctus - Luciano Pavarotti
Ave Maria - Mischa Maisky
Aria 'Schafe Konnen Sicher Weiden' - Boston Pops Orchestra
Pie Jesu - London Symphony Orchestra

Tracks:

Gloria - Chorus of Monks of the Abbey of Santo Domingo De Silos
Holy Gifts For The Holy People - The Canonesses Of The Holy Sepulchre
Chorus 'Jesus Bleibet Meine Freude' - Munchener Bach-Chor
Miserere - Choir Of Westminster Abbey
Sinfonia - English Baroque Soloists
Maurerische Trauermusik K. 477 - Radio-Symphonie-Orchester Berlin
Larghetto - Mischa Maisky
Sequentia: Lacrimosa - Berliner Philharmoniker
Chorus 'In Paradisum' - Philharmonia Orchestra
Chorus 'Wir Setzen Uns Mit Tranen Nieder' - Munchener Bach-Orchester
Ave Maria - London Symphony Orchestra
Denn Alles Fleisch, Es Ist Wie Gras' - Berliner Philharmoniker
Song For Athene - Coro Dell'Academia Nazionale Di Santa Cecilia
Graduale - Czech Philharmonic Orchestra
Benedictus - Czech Philharmonic Orchestra
Vorspiel - Philadelphia Orchestra

Customer Reviews:

Great Compilation, excellent remastering, and a DG label.......2006-04-24

There is always the mentality where the best will always be the best. Whenever you see an unknown artist on Deustche Grammophon, you'll probably be like, "Wow, he's not bad. It's Deustche Grammophon...means that the sound is great too". Anyway, the bottom line is, this cd is really good. The music is very relaxing, some are a mixture of choral and ochestral, providing a decent enough variety. Nowadays, I usually buy newer cds for remastered sound. Turns out that this is one of the better ones. Overall speaking, this cd is great for everyone, not just classical conoisseurs. Highly Recommended

Mozart: Requiem / Maurerische Trauermusik

Average customer rating:

simply splendid

Mozart: Requiem / Maurerische Trauermusik

Manufacturer: Astree
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Tracks:

Maurerische Trauermusik, K.477: Ode Funebre - Le Con Des Nations/Jordi Savall
Requiem, K.626: Requiem
Requiem, K.626: Dies Irae
Requiem, K.626: Tuba Mirum
Requiem, K.626: Rex Tremendae
Requiem, K.626: Recordare
Requiem, K.626: Confutatis
Requiem, K.626: Lacrimosa
Requiem, K.626: Domine Jesu
Requiem, K.626: Hostias
Requiem, K.626: Sanctus
Requiem, K.626: Benedictus
Requiem, K.626: Agnus Dei

Customer Reviews:

simply splendid.......2005-05-03

Rarely do I listen to a classical recording and not find something small and distracting about the style, the interpretation, or an individual voice.

That being said, this recording not only harbors no annoyances, it is one of my favorite classical masterpieces.

I have been touched by both performing and listening to classical music since I was a small child--performing classical solo piano and singing in choral ensembles--and this recording continuously moves me to tears and takes me to a concert hall with the closing of my eyelids.

The smaller size of this ensemble gives an intimacy and a nuance of interpretation in this work that is unmatched.

Mozart: Ave Verum Corpus in D; Requiem in Dm

Average customer rating:

Mozart: Ave Verum Corpus in D; Requiem in Dm

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Mozart - Requiem / Kirkby · Watkinson · Rolfe Johnson · D. Thomas · AAM · Hogwood

ASIN: B000002RSV
Release Date: 1992-09-29

Tracks:

Masonic Funeral Music, KV 477 (479a)
Requiem, KV 626 in d: I. Intro
Requiem, KV 626 in d: II. Kyrie eleison
Requiem, KV 626 in d: III. Sequenz: Dies irae
Requiem, KV 626 in d: III. Sequenz: Tuba mirum - Roger Norrington/London Classical Players/Peter Thorley
Requiem, KV 626 in d: III. Sequenz: Rex tremendae majestatis
Requiem, KV 626 in d: III. Sequenz: Recordare
Requiem, KV 626 in d: III. Sequenz: Confutatis maledictis
Requiem, KV 626 in d: III. Sequenz: Lacrimosa
Requiem, KV 626 in d: III. Sequenz: Amen
Requiem, KV 626 in d: IV. Offertorium: Domine Jesu Christe
Requiem, KV 626 in d: IV. Offertorium Hostias et preces tibi Domine
Requiem, KV 626 in d: V. Sanctus et Benedictus: Sanctus-Osanna I
Requiem, KV 626 in d: V. Sanctus et Benedictus: Sanctus-Osanna II
Requiem, KV 626 in d: VI. Angus Dei
Requiem, KV 626 in d: VII. Communio: Lux aeterna-Cum sanctis tuis
Ave verum corpus, KV 618 - Nancy Argenta/Catherine Robbin/John Mark Ainsley/Alastair Miles/Schultz Consort

The Best of the Complete Mozart Edition (Box Set)

Average customer rating:

This is it -- the best condensed collection!
The definitive collection--worth the effort.
Superb!
Go no further than this loving compilation
Mozart Goo

The Best of the Complete Mozart Edition (Box Set)

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B0000041C7
Release Date: 1995-11-14

Tracks:

Symphony No. 39 In E Flat, K. 543: 1. Adagio - Allegro - Academy Of St. Martin In The Fields
Symphony No. 39 In E Flat, K. 543: 2. Andante con moto - Academy Of St. Martin In The Fields
Symphony No. 39 In E Flat, K. 543: 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
Symphony No. 39 In E Flat, K. 543: 4. Finale. Allegro - Academy Of St. Martin In The Fields
Symphony No. 31 In D, K. 297-300A 'Paris': 1. Allegro assai - Academy Of St. Martin In The Fields
Symphony No. 31 In D, K. 297-300A 'Paris': 2. Andante - Academy Of St. Martin In The Fields
Symphony No. 31 In D, K. 297-300A 'Paris': 3. Allegro - Academy Of St. Martin In The Fields
Symphony No. 31 In D, K. 297-300A 'Paris': 2. Andante (Alternative) - Academy Of St. Martin In The Fields
Symphony No. 36 In C, K. 425 'Linz': 1. Adagio - Allegro spiritoso - Academy Of St. Martin In The Fields
Symphony No. 36 In C, K. 425 'Linz': 2. Poco adagio - Academy Of St. Martin In The Fields
Symphony No. 36 In C, K. 425 'Linz': 3. Menuetto - Academy Of St. Martin In The Fields
Symphony No. 36 In C, K. 425 'Linz': 4. Finale. Presto - Academy Of St. Martin In The Fields

Tracks:

Symphony No. 40 In G Minor, K. 550: 1. Molto allegro - Academy Of St. Martin In The Fields
Symphony No. 40 In G Minor, K. 550: 2. Andante - Academy Of St. Martin In The Fields
Symphony No. 40 In G Minor, K. 550: 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
Symphony No. 40 In G Minor, K. 550: 4. Finale. Allegro assai - Academy Of St. Martin In The Fields
Symphony No. 25 In G Minor, K. 183 - 173dB: 1. Allegro con brio - Academy Of St. Martin In The Fields
Symphony No. 25 In G Minor, K. 183 - 173dB: 2. Andante - Academy Of St. Martin In The Fields
Symphony No. 25 In G Minor, K. 183 - 173dB: 3. Menuetto - Academy Of St. Martin In The Fields
Symphony No. 25 In G Minor, K. 183 - 173dB: 4. Allegro - Academy Of St. Martin In The Fields
Symphony No. 38 In D, K. 504 'Prague': 1. Adagio - Allegro - Academy Of St. Martin In The Fields
Symphony No. 38 In D, K. 504 'Prague': 2. Andante - Academy Of St. Martin In The Fields
Symphony No. 38 In D, K. 504 'Prague': 3. Finale. Presto. - Academy Of St. Martin In The Fields
German Dance In C, K. 602 No. 3: 'Die Leyerer' - Wiener Mozart-Ensemble

Tracks:

Symphony No. 41 In C, K. 551 'Jupiter': 1. Allegro vivace - Academy Of St. Martin In The Fields
Symphony No. 41 In C, K. 551 'Jupiter': 2. Andante cantabile - Academy Of St. Martin In The Fields
Symphony No. 41 In C, K. 551 'Jupiter': 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
Symphony No. 41 In C, K. 551 'Jupiter': 4. Molto allegro - Academy Of St. Martin In The Fields
Symphony No. 29 In A, K. 201-186a: 1. Allegro moderato - Academy Of St. Martin In The Fields
Symphony No. 29 In A, K. 201-186a: 2. Andante - Academy Of St. Martin In The Fields
Symphony No. 29 In A, K. 201-186a: 3. Menuetto - Academy Of St. Martin In The Fields
Symphony No. 29 In A, K. 201-186a: 4. Allegro con spirito - Academy Of St. Martin In The Fields
Symphony No. 35 I D, K. 385 'Haffner': 1. Allegro con spirito - Academy Of St. Martin In The Fields
Symphony No. 35 I D, K. 385 'Haffner': 2. (Andante) - Academy Of St. Martin In The Fields
Symphony No. 35 I D, K. 385 'Haffner': 3. Menuetto - Academy Of St. Martin In The Fields
Symphony No. 35 I D, K. 385 'Haffner': 4. Finale. Presto - Academy Of St. Martin In The Fields
German Dance In C, K. 605 No. 3: Trio: 'The Sleigh Ride' - Wiener Mozart Emsemble

Tracks:

'Eine kleine Nachtmusik', K. 525: Serenade In G - 1. Allegro - Academy Of St. Martin In The Fields
'Eine kleine Nachtmusik', K. 525: Serenade In G - 2. Romance. Andante - Academy Of St. Martin In The Fields
'Eine kleine Nachtmusik', K. 525: Serenade In G - 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
'Eine kleine Nachtmusik', K. 525: Serenade In G - 4. Rondo. Allegro - Academy Of St. Martin In The Fields
Serenade In D, K. 239 'Serenata notturna': 1. Marcia. Maestoso. - Academy Of St. Martin In The Fields
Serenade In D, K. 239 'Serenata notturna': 2. . Menuetto - Academy Of St. Martin In The Fields
Serenade In D, K. 239 'Serenata notturna': 3. Rondeau. Allegretto - Adagio - Allegretto - Stephen Shingles
Divertimento In F, K. 247: 4. Adagio - Academy Of St. Martin In The Fields
Notturno In D, K. 286 For Four Orchestras: 1. Andante - Academy Of St. Martin In The Fields
Notturno In D, K. 286 For Four Orchestras: 2. Allegretto grazioso - Academy Of St. Martin In The Fields
Notturno In D, K. 286 For Four Orchestras: 3. Menuetto - Academy Of St. Martin In The Fields
Serenade In C Minor, K. 288-384a 'Nacht-Musique': 1. Allegro - Holliger Wind Ensemble
Serenade In C Minor, K. 288-384a 'Nacht-Musique': 2. Andante - Holliger Wind Ensemble
Serenade In C Minor, K. 288-384a 'Nacht-Musique': 3. Menuetto in canone - Holliger Wind Ensemble
Serenade In C Minor, K. 288-384a 'Nacht-Musique': 4. Allegro - Holliger Wind Ensemble

Tracks:

Serenade In B Flat, K. 361-370a 'Gran Partita': 1. Largo - Academy Of St. Martin In The Fields
Serenade In B Flat, K. 361-370a 'Gran Partita': Allegro molto - Academy Of St. Martin In The Fields
Serenade In B Flat, K. 361-370a 'Gran Partita': 2. Menuetto - Trio I-II - Academy Of St. Martin In The Fields
Serenade In B Flat, K. 361-370a 'Gran Partita': 3. Adagio - Academy Of St. Martin In The Fields
Serenade In B Flat, K. 361-370a 'Gran Partita': 4. Menuetto. Allegretto - Trio I-II - Academy Of St. Martin In The Fields
Serenade In B Flat, K. 361-370a 'Gran Partita': 5. Romanze. Adagio - Allegretto - Adagio - Academy Of St. Martin In The Fields
Serenade In B Flat, K. 361-370a 'Gran Partita': 6. Thema mit Variationen. Andante - Academy Of St. Martin In The Fields
Serenade In B Flat, K. 361-370a 'Gran Partita': 7. FInale. Molto allegro - Academy Of St. Martin In The Fields
Adagio In F, K. 410-484d - Holliger Wind Ensemble
Serenade In E Flat, K. 375: 1. Allegro maestoso - Holliger Wind Ensemble
Serenade In E Flat, K. 375: 2. Menuetto - Holliger Wind Ensemble
Serenade In E Flat, K. 375: 3. Adagio - Holliger Wind Ensemble
Serenade In E Flat, K. 375: 4. Menuetto - Holliger Wind Ensemble
Serenade In E Flat, K. 375: 5. Finale. Allegro - Holliger Wind Ensemble

Tracks:

Piano Concerto No. 10 In E Flat, K. 365-316a (For Two Pianos And Orchestra): 1. Allegro - Alfred Brendel
Piano Concerto No. 10 In E Flat, K. 365-316a (For Two Pianos And Orchestra): 2. Andante - Alfred Brendel
Piano Concerto No. 10 In E Flat, K. 365-316a (For Two Pianos And Orchestra): 3. Rondeaux. Allegro - Alfred Brendel
Piano Concerto No. 6 In B Flat, K. 238: 1. Allegro aperto - Alfred Brendel
Piano Concerto No. 6 In B Flat, K. 238: 2. (Andante un poco adagio) - Alfred Brendel
Piano Concerto No. 6 In B Flat, K. 238: 3. Rondeau. Allegro - Alfred Brendel
Piano Concerto No. 9 In E Flat, K. 271: 1. Allegro - Alfred Brendel
Piano Concerto No. 9 In E Flat, K. 271: 2. Andantino - Alfred Brendel
Piano Concerto No. 9 In E Flat, K. 271: 3. Rondeau. Presto - Alfred Brendel

Tracks:

Piano Concerto No. 20 In D Minor, K. 466: 1. Allegro - Alfred Brendel
Piano Concerto No. 20 In D Minor, K. 466: 2. Romance - Alfred Brendel
Piano Concerto No. 20 In D Minor, K. 466: 3. Rondo. Allegro assai - Alfred Brendel
Sonata In C Minor, K. 457: 1. Molto allegro - Alfred Brendel
Sonata In C Minor, K. 457: 2. Adagio - Alfred Brendel
Sonata In C Minor, K. 457: 3. Allegro assai - Alfred Brendel
Piano Concerto No. 21 In C, K. 467: 1. (Allegro) - Alfred Brendel
Sonata In C Minor, K. 457: 2. Andante - Alfred Brendel
Sonata In C Minor, K. 457: 3. Allegro vivace assai - Alfred Brendel

Tracks:

Piano Concerto No. 23 In A, K. 488: 1. Allegro - Alfred Brendel
Piano Concerto No. 23 In A, K. 488: 2. Adagio - Alfred Brendel
Piano Concerto No. 23 In A, K. 488: 3. Allegro assai - Alfred Brendel
Sonata In B Flat, K. 333-315c: 1. Allegro - Alfred Brendel
Sonata In B Flat, K. 333-315c: 2. Andante cantabile - Alfred Brendel
Sonata In B Flat, K. 333-315c: 3. Allegretto grazioso - Alfred Brendel
Piano Concerto No. 26 In D, K. 537 'Coronation': 1. Allegro - Alfred Brendel
Piano Concerto No. 26 In D, K. 537 'Coronation': 2. (Larghetto) - Alfred Brendel
Piano Concerto No. 26 In D, K. 537 'Coronation': 3. (Allegretto) - Alfred Brendel

Tracks:

Violin Concerto No. 3 In G, K. 216: 1. Allegro - Henryk Szeryng
Violin Concerto No. 3 In G, K. 216: 2. Adagio - Henryk Szeryng
Violin Concerto No. 3 In G, K. 216: 3. Rondeau. Allegro - Henryk Szeryng
Violin Concerto No. 4 In D, K. 218: 1. Allegro - Henryk Szeryng
Violin Concerto No. 4 In D, K. 218: 2. Andante cantabile - Henryk Szeryng
Violin Concerto No. 4 In D, K. 218: 3. Rondeau. Andante grazioso - Henryk Szeryng
Violin Concerto No. 5 In A, K. 219: 1. Allegro aperto - Henryk Szeryng
Violin Concerto No. 5 In A, K. 219: 2. Adagio - Henryk Szeryng
Violin Concerto No. 5 In A, K. 219: 3. Rondeau. Tempo di menuetto - Henryk Szeryng

Tracks:

Clarinet Concerto In A, K. 622: 1. Allegro - Karl Leister
Clarinet Concerto In A, K. 622: 2. Adagio - Karl Leister
Clarinet Concerto In A, K. 622: 3. Rondo. Allegro - Karl Leister
Concerto In C, K. 299-297c For Flute, Harp And Orchestra: 1. Allegro - Irena Grafenauer
Concerto In C, K. 299-297c For Flute, Harp And Orchestra: 2. Andantino - Irena Grafenauer
Concerto In C, K. 299-297c For Flute, Harp And Orchestra: 3. Rondeau. Allegro - Irena Grafenauer
Horn Concerto In E Flat, K. 495: 1. Allegro moderato - Peter Damm
Horn Concerto In E Flat, K. 495: 2. Romanza. Andante - Peter Damm
Horn Concerto In E Flat, K. 495: 3. Rondo. Allegro vivace - Peter Damm
Rondo In E Flat, K. 371 For Horn And Orchestra - Timothy Brown

Tracks:

Clarinet Quintet In A, K. 581: 1. Allegro - Academy Of St. Martin In The Fields
Clarinet Quintet In A, K. 581: 2. Larghetto - Academy Of St. Martin In The Fields
Clarinet Quintet In A, K. 581: 3. Menuetto - Academy Of St. Martin In The Fields
Clarinet Quintet In A, K. 581: 4. Allegretto con variazioni - Academy Of St. Martin In The Fields
Movement In B Flat, K. App. 91-516c (For Clarinet, Basset Horn, Violin, Viola And Cello) - Academy Of St. Martin In The Fields
Movement In F, K. App. 90/580b - Academy Of St. Martin In The Fields
Flute Quartet In D, K. 285: 1. Allegro - Academy Of St. Martin In The Fields
Flute Quartet In D, K. 285: 2. Adagio - - Academy Of St. Martin In The Fields
Flute Quartet In D, K. 285: 3. Rondeau - Academy Of St. Martin In The Fields
Oboe Quartet In F, K. 370-368b: 1. Allegro - Academy Of St. Martin In The Fields
Oboe Quartet In F, K. 370-368b: 2. Adagio - Academy Of St. Martin In The Fields
Oboe Quartet In F, K. 370-368b: 3. Rondeau. Allegro - Academy Of St. Martin In The Fields
From 'A Musical Joke', K. 522: 4. Presto - Academy Of St. Martin In The Fields

Tracks:

String Quintet [No. 3] In G Minor, K. 516: 1. Allegro - Arthur Grumiaux
String Quintet [No. 3] In G Minor, K. 516: 2. Menuetto. Allegretto - Arthur Grumiaux
String Quintet [No. 3] In G Minor, K. 516: 3. Adagio ma non troppo - Arthur Grumiaux
String Quintet [No. 3] In G Minor, K. 516: 4. Adagio - Allegro - Arthur Grumiaux
Divertimento (Trio For Strings) In E Flat, K. 563: 1. Allegro - Grumiaux Trio
Divertimento (Trio For Strings) In E Flat, K. 563: 2. Adagio - Grumiaux Trio
Divertimento (Trio For Strings) In E Flat, K. 563: 3. Menuetto. Allegretto - Trio - Grumiaux Trio
Divertimento (Trio For Strings) In E Flat, K. 563: 4. Andante - Grumiaux Trio
Divertimento (Trio For Strings) In E Flat, K. 563: 5. Menuetto. Allegretto - Trio I-II - Grumiaux Trio
Divertimento (Trio For Strings) In E Flat, K. 563: 6. Allegro - Grumiaux Trio
Movement In G, K. App. 66-562e For Violin And Cello: Allegro - Academy Of St. Martin In The Fields

Tracks:

String Quartet No. 15 In D Minor, K. 421-417b: 1. Allegro moderato - Quartetto Italiano
String Quartet No. 15 In D Minor, K. 421-417b: 2. Andante - Quartetto Italiano
String Quartet No. 15 In D Minor, K. 421-417b: 3. Menuetto. Allegretto - Quartetto Italiano
String Quartet No. 15 In D Minor, K. 421-417b: 4. Allegretto ma non troppo - Piu allegro - Quartetto Italiano
String Quartet No. 17 In B Flat, K. 458 'The Hunt': 1. Allegro vivace assai - Quartetto Italiano
String Quartet No. 17 In B Flat, K. 458 'The Hunt': 2. Menuetto. Moderato - Quartetto Italiano
String Quartet No. 17 In B Flat, K. 458 'The Hunt': 3. Adagio - Quartetto Italiano
String Quartet No. 17 In B Flat, K. 458 'The Hunt': 4. Allegro assai - Quartetto Italiano
Allegretto In B Flat, K. App. 68-589a (For String Quarter) - Academy Of St. Martin In The Fields
Adagio And Rondo In C, K. 617 (For Glass Harmonica, Flute, Oboe, Viola And Cello): 1. Adagio - Jean Decroos
Adagio And Rondo In C, K. 617 (For Glass Harmonica, Flute, Oboe, Viola And Cello): 2. Rondo - Jean Decroos

Tracks:

Piano Quintet In E Flat, K. 452 (For Piano, Oboe, Clarinet, Horn And Bassoon): 1. Largo - Allegro moderato - Alfred Brendel
Piano Quintet In E Flat, K. 452 (For Piano, Oboe, Clarinet, Horn And Bassoon): 2. Larghetto - Alfred Brendel
Piano Quintet In E Flat, K. 452 (For Piano, Oboe, Clarinet, Horn And Bassoon): 3. Allegretto - Alfred Brendel
Larghetto In B Flat, 452a-App. 54 (For Piano, Oboe, Clarinet, Bassett Horn And Bassoon): Larghetto - Mitsuko Uchida
Piano Quartet In G Minor, K. 478: 1. Allegro - Bruno Giuranna
Piano Quartet In G Minor, K. 478: 2. Andante - Bruno Giuranna
Piano Quartet In G Minor, K. 478: 3. Rondo. Allegro moderato - Bruno Giuranna
Trio In E Flat, K. 498 (For Piano, Clarinet And Viola 'Kegelstatt'): 1. Andante - Jack Brymer
Trio In E Flat, K. 498 (For Piano, Clarinet And Viola 'Kegelstatt'): 2. Menuetto - Jack Brymer
Trio In E Flat, K. 498 (For Piano, Clarinet And Viola 'Kegelstatt'): 3. Rondeaux. Allegretto - Jack Brymer

Tracks:

Sonata In E Minor, K. 304-300c (For Piano And Violin): 1. Allegro - Arthur Grumiaux
Sonata In E Minor, K. 304-300c (For Piano And Violin): 2. Tempo di menuetto - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): 1. Allegro - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): 2. Tema [con variazioni] - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): Tema - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): Variazione I - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): Variazione II - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): Variazione III - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): Variazone IV - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): Variazone V - Arthur Grumiaux
Sonata In F, K. 377-374e (For Piano And Violin): 3. Tempo di menuetto - Arthur Grumiaux
Sonata In B Flat, K. 378-317d (For Piano And Violin): 1. Allegro moderato - Arthur Grumiaux
Sonata In B Flat, K. 378-317d (For Piano And Violin): 2. Andantino sostenuto e cantibile - Arthur Grumiaux
Sonata In B Flat, K. 378-317d (For Piano And Violin): 3. Rondo. Allegro - Arthur Grumiaux
Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Tema - Arthur Grumiaux
Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione I - Arthur Grumiaux
Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione II - Arthur Grumiaux
Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione III - Arthur Grumiaux
Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione IV - Arthur Grumiaux
Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione V - Arthur Grumiaux
Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione VI - Arthur Grumiaux
Sonata In A, K. 526 (For Piano And Violin): 1. Allegro molto - Arthur Grumiaux
Sonata In A, K. 526 (For Piano And Violin): 2. Andante - Arthur Grumiaux
Sonata In A, K. 526 (For Piano And Violin): 3. Presto - Arthur Grumiaux

Tracks:

Sonata In A Minor, K. 310-300d: 1. Allegro maestoso - Mitsuko Uchida
Sonata In A Minor, K. 310-300d: 2. Andante cantabile con espressione - Mitsuko Uchida
Sonata In A Minor, K. 310-300d: 3. Presto - Mitsuko Uchida
Sonata In A, K. 331-300i: 1. Tema (Andante grazioso) - Mitsuko Uchida
Sonata In A, K. 331-300i: 2. Menuetto - Mitsuko Uchida
Sonata In A, K. 331-300i: 3. Alla turca. Allegretto - Mitsuko Uchida
Sonata In C, K. 545: 1. Allegro - Mitsuko Uchida
Sonata In C, K. 545: 2. Andante - Mitsuko Uchida
Sonata In C, K. 545: 3. Rondo - Mitsuko Uchida
Sonata In D, K. 576: 1. Allegro - Mitsuko Uchida
Sonata In D, K. 576: 2. Adagio - Mitsuko Uchida
Sonata In D, K. 576: 3. Allegretto - Mitsuko Uchida
Minuet In D, K. 355 - Mitsuko Uchida

Tracks:

Exsultate, jubilate, K. 165-158a: Exsultate, jubilate - Kiri Te Kanawa
Exsultate, jubilate, K. 165-158a: Fulget amica dies - Kiri Te Kanawa
Exsultate, jubilate, K. 165-158a: Tu virginum corona - Kiri Te Kanawa
Exsultate, jubilate, K. 165-158a: Alleluja - Kiri Te Kanawa
Mass In C, K. 317 'Coronation': Kyrie - Michael G. Gormley
Mass In C, K. 317 'Coronation': Gloria - Michael G. Gormley
Mass In C, K. 317 'Coronation': Credo - Michael G. Gormley
Mass In C, K. 317 'Coronation': Santcus - Michael G. Gormley
Mass In C, K. 317 'Coronation': Benedictus - Michael G. Gormley
Mass In C, K. 317 'Coronation': Agnus Dei - Michael G. Gormley
Church Sonata No. 16 In C, K. 329 - Helmut Winschermann
Vesperae solennes de Dominica, K. 321: Laudate Dominum - Herbert Kegel
Missa [solemnis] In C, K. 337: Kyrie - Aldo Baldin
Missa [solemnis] In C, K. 337: Gloria - Aldo Baldin
Missa [solemnis] In C, K. 337: Credo - Aldo Baldin
Missa [solemnis] In C, K. 337: Sanctus - Aldo Baldin
Missa [solemnis] In C, K. 337: Benedictus - Aldo Baldin
Missa [solemnis] In C, K. 337: Agnus Dei - Aldo Baldin
Vesperae solennes de Confessore, K. 339: Laudate Dominum - Kiri Te Kanawa

Tracks:

Ave verum corpus, K. 618 - John Constable
Maurerisch Trauermusik K. 477-479a - Statatskapelle Dresden
Kyrie In D Minor, K. 341-368a - John Constable
Adagio und Fugue In C Minor, K. 546: Adagio - Staatskapelle Dresden
Adagio und Fugue In C Minor, K. 546: Fugue - Staatskapelle Dresden
Requiem In D Minor, K. 626: Introitus: Requiem - Francisco Araiza
Requiem In D Minor, K. 626: Kyrie - Francisco Araiza
Requiem In D Minor, K. 626: Sequentia: Dies irae - Francisco Araiza
Requiem In D Minor, K. 626: Tuba mirum - Francisco Araiza
Requiem In D Minor, K. 626: Rex tremendae - Francisco Araiza
Requiem In D Minor, K. 626: Recordare - Francisco Araiza
Requiem In D Minor, K. 626: Confutatis - Francisco Araiza
Requiem In D Minor, K. 626: Lacrimosa - Francisco Araiza
Requiem In D Minor, K. 626: Ofertorium: Domine Jesu - Francisco Araiza
Requiem In D Minor, K. 626: Hostias - Francisco Araiza
Requiem In D Minor, K. 626: Sanctus - Francisco Araiza
Requiem In D Minor, K. 626: Benedictus - Francisco Araiza
Requiem In D Minor, K. 626: Agnus Dei - Francisco Araiza
Requiem In D Minor, K. 626: Communio: Lux aeterna - Francisco Araiza

Tracks:

Concert Arias: 'Voi avete un cor fedele', K. 217 - Edith Mathis
Concert Arias: 'Misera, dove son!' ...- 'Ah! non son io che parlo, K. 369 - Edith Mathis
Concert Arias: 'Ch'io mi scordi di te?'...- 'Non temer, amato bene', K. 505 - Leopold Hager
Concert Arias: 'Un moto di gioia mi sento', K. 579 - Eva Lind
Concert Arias: 'Chi sa, chi sa, qual sia', K. 582 - Lucia Popp
Concert Arias: 'Vado, ma dove?' oh Dei!', K. 583 - Edith Mathis
Concert Arias: 'Un bacio di mano', K. 541 - Walter Berry
Concert Arias: 'Dan Bandel', K. 441 - Anton Scharinger
Concert Arias: 'Caro mio Druck und Schluck', K. App. 5 - Anton Scharinger
Concert Arias: 'Leck mich im Arsch', K. 231 - Klaus von Wildemann
Concert Arias: 'Bona nox! bist a rechta Ox', K. 561 - Klaus von Wildemann
Concert Arias: 'V'amo di core', K. 348 - Klaus von Wildemann
Concert Arias: 'Mi lagnero tacendo', K. 437 - Klaus von Wildemann
Lieder: 'Das Veilchen', K. 476 - Dalton Baldwin
Lieder: 'Der Zauberer', K. 472 - Dalton Baldwin
Lieder: 'Die Alte', K. 517 - Dalton Baldwin
Lieder: 'Die Vershweigung', K. 518 - Dalton Baldwin
Lieder: 'Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte', K. 520 - Dalton Baldwin
Lieder: 'Abendempfindung', K. 523 - Dalton Baldwin
Lieder: 'Das Traumbild', K. 530 - Dalton Baldwin
Lieder: 'Die kleine Spinnerin', K. 531 - Dalton Baldwin
Lieder: 'Un moto di gioia', K. 579 - Dalton Baldwin
Lieder: 'Sehnsucht nach dem Fruhling', K. 596 - Dalton Baldwin

Tracks:

Idomeneo, K. 366 (Highlights): Overture - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Quando avran fine omai' (Ilia) - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Padre, germani, addio!' (Ilia) - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Estinto e Idomeneo?' (Elettra) - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Tutte nel cor vi sento' (Elettra) - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Pieta! Numi,pieta!' - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Eccoci salvi alfin' (Idomeneo) - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Vedrommi intorno' (Idomeneo) - John Constable
Idomeneo, K. 366 (Highlights): Act One: 'Il padre adorato' (Idamente) - John Constable
Idomeneo, K. 366 (Highlights): Act Two: 'Fuor del mar' (Idomeneo) - John Constable
Idomeneo, K. 366 (Highlights): Act Two: 'Placido e il mar' - John Constable
Idomeneo, K. 366 (Highlights): Act Two: 'Vattene prence' (Idomeneo, Idamante) - John Constable
Idomeneo, K. 366 (Highlights): Act Two: 'Pria di partir, o Dio!' (Idamante, Elettra, Idomeneo) - John Constable
Idomeneo, K. 366 (Highlights): Act Two: 'Qual nuovo terrore!' - John Constable
Idomeneo, K. 366 (Highlights): Act Two: 'Eccoti in me, barbaro Nume!' (Idomeneo) - John Constable
Idomeneo, K. 366 (Highlights): Act Two: 'Corriamo, fuggiamo' - John Constable
Idomeneo, K. 366 (Highlights): Act Three: 'Zeffiretti Iusinghieri' (Ilia) - John Constable
Idomeneo, K. 366 (Highlights): Act Three: 'Andro ramingo e solo' (Idamente, Ilia, Idomeneo, Elettra) - John Constable
Idomeneo, K. 366 (Highlights): Act Three: 'Accogli, oh re del mar' (Idomeneo) - John Constable
Idomeneo, K. 366 (Highlights): Act Three: 'Ha vinto amore' (The Voice) - John Constable
Idomeneo, K. 366 (Highlights): Act Three: 'O ciel pietoso!' (Idomeneo, Idamante, Ilia, Arbace, Elettra) - John Constable
Idomeneo, K. 366 (Highlights): Act Three: 'D'Oreste e d'Aiace' (Elettra) - John Constable
Idomeneo, K. 366 (Highlights): Act Three: 'Scenda Amor, scenda Imeneo' - John Constable

Tracks:

The Abduction From The Serail, K. 384 (Highlights): Overture - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act One: 'Hier soll ich dich denn sehen' (Belmonte) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act One: 'Solche hergelaufne Laffen' (Osmin) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act One: 'Konstanze, dich wiederzusehen' - 'O wie angstlich, o wie feurig' (Belmonte) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act One: 'Singt dem grossen Bassa Lieder' - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act One: 'Ach ich liebte, war so glucklich' (Konstanze) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act One: 'Marsch! Trollt euch fort!' (Osmin, Belmonte, Pedrillo) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Durch Zartlichkiet und Schmeicheln' (Blonde) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Welcher Dummer herrscht in meiner Seele' (Konstanze) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Traurigkeit ward mir zum Lose' - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Matern aller Arten' (Konstanze) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Welche Wonne, welche Lust' (Blonde) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Frisch zum Kampfe' (Pedrillo) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Vivat Baccus! Bacchus lebe!' (Pedrillo, Osmin) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Ach Belmonte! Ach, mein Leben' - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Wenn unsrer Ehre wegen' (Konstanze, Blonde, Belmonte, Pedrillo) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Three: 'In Mohrenland gefangen war' (Pedrillo, Belmonte) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Three: 'Ha, wie will ich triumphieren' (Osmin) - Christiane Eda-Pierre (Konstanze)
The Abduction From The Serail, K. 384 (Highlights): Act Three: 'Nie werd' ich deine Huld verkennen' (Belmonte, Konstanze, Pedrillo, Blonde, Osmin) - Christiane Eda-Pierre (Konstanze)

Tracks:

Le Nozze Di Figaro, K. 492 (Highlights): Overture - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Cinque... dieci...centi...' - 'Cosa stai misurando' (Figaro, Susanna) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Se vuol ballare' (Figaro) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'La vendetta, oh, la vendetta' (Bartolo) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Non so piu cosa son, cosa faccio' (Cherubino) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Cosa sento! tosto andante' (Count, Basilio, Susanna) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Non piu andrai' (Figaro) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Porgi amor' (Countess) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Voi che sapete' (Cherubino) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Susanna, or via, sortite' (Count, Countess, Susanna) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Aprite, presto, aprite' (Susanna, Cheubino) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Voi signor, che giusto siete' (Marcellina, Basilio, Bartolo, Count, Susanna, Countess, Figaro) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Crudel! Perche finora' (Count, Susanna) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Hai gia vinta la causa' - 'Vedro mentr'io sospiro' (Count) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'E Susann non vien!' - 'Dove sono i bei momenti' (Countess) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Riconosci in questo amplesso' (Marcellina, Figaro, Bartolo, Don Curzio, Count, Susanna) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Canzonetta sull'aria': 'Che soave zeffiretto' (Countess, Susanna) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Ricevete, o padroncina' - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'L'ho perduta' (Barbarina) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'Aprite un po' quegli occhi' (Figaro) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'Giunse alfin il momento' - 'Deh vieni, non tardar' (Susanna) - John Constable
Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'Gente, gente all'armi' (Count, Figaro, Don Curzio, Basilio, Antonio, Bartolo, Susanna) - John Constable

Tracks:

Don Giovanni, K. 527: Overture - John Constable
Don Giovanni, K. 527: Act One: 'Notte e giorno faticar' (Leporello) - 'Leporello, ove sei?' (Don Giovanni, Leporello) - John Constable
Don Giovanni, K. 527: Act One: 'Madamina, il catalogo e questo' (Leporello) - John Constable
Don Giovanni, K. 527: Act One: 'La ci darem la mano' (Don Giovanni, Zerlina) - John Constable
Don Giovanni, K. 527: Act One: 'Non ti fidar, o misera' (Donna Elvira, Donna Anna, Don Ottavio, Don Giovanni) - John Constable
Don Giovanni, K. 527: Act One: 'Don Ottavio, son orta' (Donna Anna, Don Ottavio) - John Constable
Don Giovanni, K. 527: Act One: 'Or sai chi l'onore' (Donna Anna) - John Constable
Don Giovanni, K. 527: Act One: 'Dalla sua pace', K. 540a (Don Ottavio) - John Constable
Don Giovanni, K. 527: Act One: 'Fin ch'han dal vino' (Don Giovanni) - John Constable
Don Giovanni, K. 527: Act One: 'Batti, batti, o bel Masetto' (Zerlina) - John Constable
Don Giovanni, K. 527: Act Two: 'Eh via, buffone' (Don Giovanni, Leporello) - John Constable
Don Giovanni, K. 527: Act Two: 'Ah! taci, ingiusto core' - John Constable
Don Giovanni, K. 527: Act Two: 'Deh! vieni alla finestra' (Don Giovanni) - John Constable
Don Giovanni, K. 527: Act Two: 'Vedrai, carino' (Zerlina) - John Constable
Don Giovanni, K. 527: Act Two: 'Sola, sola in buio loco' (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) - John Constable
Don Giovanni, K. 527: Act Two: 'Il mio tesoro intanto' (Don Ottavio) - John Constable
Don Giovanni, K. 527: Act Two: 'In quali eccessi, o Numi!' - John Constable
Don Giovanni, K. 527: Act Two: 'Mi tradi quell'alma ingrata' (Donna Elvira) - John Constable
Don Giovanni, K. 527: Act Two: 'Don Gionanni, a cenar teco' (Il Commendatore, Don Giovanni, Leporello) - John Constable
Don Giovanni, K. 527: Act Two: 'Questo e il fin di chi fa mal!' (Donna Elvira, Donna Anna, Zerlina, Don Ottavio, Leporello, Masetto) - John Constable

Tracks:

Cost Fan Tutte, K. 588: Overture - John Constable
Cost Fan Tutte, K. 588: Act One: 'La mia Dorabella' (Ferrando, Guglielmo, Don Alfonso) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Ah, guarda sorella' (Fiordiligi, Dorabella) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Vorrei dir, e cor non ho' (Don Alfonso) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Sento, o Dio, che questo piede' (Guglielmo, Ferrando, Don Alfonso, Fiordiligi, Dorabella) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Di scrivermi ogni giorno' - Bella vita militar' (Fiordiligi, Dorabella, Guglielmo, Ferrando, Don Alfonso) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Soave sia il vento' (Fiordiligi, Dorabella, Don Alfonso) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Ah, scostati!' - Smanie implacabili' (Dorabella) - John Constable
Cost Fan Tutte, K. 588: Act One: 'In uomini, in soldati' (Despina) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Alla bella Despinetta' (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Come scoglio' (Fiordiligi) - John Constable
Cost Fan Tutte, K. 588: Act One: ''Non siate ritrosi' (Guglielmo) - John Constable
Cost Fan Tutte, K. 588: Act One: 'E voi ridete' (Don Alfonso, Ferrando, Guglielmo) - John Constable
Cost Fan Tutte, K. 588: Act One: 'Un 'aura amorosa' (Ferrando) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Una donna a quindici anni' (Despina) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Predero quel brunettino' (Dorabella, Fiordiligi) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'La mano a me date' (Don Alfonso, Ferrando, Guglielmo, Despina) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Il core vi dono' (Guglielmo, Dorabella) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Per pieta, ben mio, perdona' (Fiordiligi) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Donne mie, la fate a tanti' (Guglielmo) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Volgi a me pietoso il ciglio' (Ferrando, Fiordiligi) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Tutti accusan le donne' (Don Alfonso) - John Constable
Cost Fan Tutte, K. 588: Act Two: 'Fortunato l'uom che prende' (All) - John Constable

Tracks:

The Magic Flute, K. 620 (Highlights): Overture - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'Der Vogelfanger bin ich ja' (Papageno) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'Dies Bildnis ist bezaubernd schon' (Tamino) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'O zittre nicht' (Queen Of The Night) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'Hm! Hm! Hm! (Papageno, Tamino, 3 Ladies) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'Du feines Taubchen, nur herein' (Monostatos, Pamina, Papageno) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'Bei Mannern, welch Liebe fuhlen' (Pamina, Papageno) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'Wie stark ist nicht dein Zauberton' (Tamino) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act One: 'Schnelle Fusse, rascher Mut' (Pamina, Papageno, Monostatos) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'O Isis und Osiris' (Sarastro) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'Wie? Wie? Wie?' (3 Ladies, Papageno, Tamino) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'Alles fuhlt der Liebe Freuden' (Monostatos) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): ActTwo: 'Der Holle Rache' (Queen Of The Night) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'In diesen heil'gen Hallen' (Sarastro) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'Ach, ich fuhl's' (Pamina) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'O Isis und Osires, welche Wonne!' - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'Ein Madchen oder Weibchen' (Papageno) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'Papagena! Weibchen! (Papageno) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'Pa-Pa-Pa-Pa-Pa-Pa' (Papageno, Papagena, 3 Boys) - Mikael Melbye (Papageno)
The Magic Flute, K. 620 (Highlights): Act Two: 'Nur stille, stille' (Monostatos, Queen Of The Night, 3 Ladies, Sarastro) - Mikael Melbye (Papageno)

Customer Reviews:

This is it -- the best condensed collection!.......2006-12-14

If you don't want to go through the painstaking process of collecting all 45 volumes of the older Philips Complete Mozart Edition, which could end up costing close to $2,000 by the time you have the entire collection, you should eye this condensed set. Granted, it doesn't have ALL the works of Mozart (hence, its title!) so, for the Mozart completist or fanatic, this boxed set will only leave one salivating for more. I am fortunate enough to own both the whole collection and the 'Best of' set and sometimes this 'Best of' set satifies me for a quick fix. The performers of the Philips Complete Mozart Edition are first class and, many would consider, THE world's most acclaimed Mozartian conductors and performers. To me, there is no one who can capture the spirit of Mozart's pieces as well as Sir Neville Marriner and the ASMF. Perhaps with today's technology, some pieces could be better digitally remastered but, quite frankly, I do not hear any hissing sound from these recordings (some from the 1980's), even after being downloaded into my iPod. Don't waste your time and money chasing other Mozart collections because, to date, I have not come across any others that quite compare to the Philips Complete Mozart Edition. Even the 'Best of' set merits more than 5 stars!

The definitive collection--worth the effort........2002-10-13

I'm fascinated with this collection; the selection of performances is superb and you always an authoritative interpretation for each piece. The selection of material is very well balanced. This collection is all the Mozart I'll need for the next decade. It is a good buy if you have only two or three Mozart albums in your CD collection and are intending to deepen your knowledge of this greatest of composers.

A couple of drawbacks in the collection are its lack of decent accompaining literature (you only get the CD's succint liner notes in four languages) and an occasional selection with poor sound quality or hiss from an old recording. The average quality of the remasterizations, though, is very good. You should probably get a nice book on Mozart to read while listening.

Importers beware! this product could produce massive import duties. Check before ordering.

Superb!.......2000-04-14

This is a high quality set, well worth the money. It is an investment in beautiful music for a lifetime.

Go no further than this loving compilation.......2000-02-24

I have many editions in the Philips Complete Mozart Edition ("one-stop shopping" is my middle name) and I recommend them thoroughly and emphatically. Life is too short not to listen to Mozart each and every day of your life. Thanks to those at Philips who put this monster together; we really appreciate it. So does Wolfie. Essential.

Mozart Goo.......1999-12-20

This is the most extensive collection of Mozart that you can buy all in one set. Over 48 hours of nothing but Mozart! Need I say more? Its a little pricey, but well worth the cash.

Average customer rating:

Mozart: Requiem, etc.

Manufacturer: Glossa
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000J2S4
Release Date: 1999-05-01

Average customer rating:

Please....would ignorant reviewers educate themselves...how embarrassing
Music history
Requiem brought to life
Previous reviews are unfair...
Requiem? I don't think so!!

Mozart: Requiem

Manufacturer: Naive
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000059M6P
Release Date: 2001-06-12

Customer Reviews:

Please....would ignorant reviewers educate themselves...how embarrassing.......2006-05-29

This performance is stylistically accurate and more emotionally compelling than so many of the incoherent and 'uninformed' recordings out today. To the reviewer that questioned the 'Adagio' marking...educate yourself please...we are talking about an 18th century Adagio which was more brisk than its romantic counterpart. For the reviewer who has sung this with Barenboim...how nice for you, but his conducting shows little understanding or research on period performance practise.....THE FURTHER THIS MUSIC MOVES AWAY FROM THE BUOYANCY AND FLUIDITY OF DANCE-LIKE MOTION, THE FURTHER IT MOVES AWAY FROM THE COMPOSERS INTENSIONS---NOT IN TERMS OF SPEED BUT ARTICULATION. 17th AND 18th C MUSIC FEEDS OFF THIS RHYTHMIC DRIVE AND ARTICULATION.
This is so completely lost in the 19th century approach to earlier music. Stodgy tempi and massed `vibrato hungry' orchestras are the death of this type of music. They ignore the composer's intentions and suffocate any life that was once in the work.
The Lacrimosa shouldn't be some wallowing dirge, it should be a sardonic death waltz, spine tingling with that underlying driving rhythmic pulse, not a dreary, indulgent, 'heart on your sleave' approach...makes no sense in relation Mozart's period of composition, style or aesthetic. Think about it!

Music history.......2005-10-26

This recording of Mozart's Requiem is by far the finest I have ever heard. It seems like everything Savall touches becomes gold.
The music is swift and impassioned, sweet and metallic. The Dies irae is on fire.
The complaints about too fast tempos from some reviewers are plainly ignorant. The word "Adagio" means nothing without historical context. You must be aware of it's meaning in Mozart's days. This recording takes the easthetics of the 1800:th century seriously. Can we hope that the mistreatment of the music of the period by large orchestras and "majestetic" tempos is near an end? It has clearly ruined the ears of many, judging by the confused remarks on this ingeniuos recording.
If you don't like this record, then you don't like Mozart.

Requiem brought to life.......2004-06-22

Savall's reading of the familiar Mozart Requiem is a revelation. The music is played with a passion and verve missings from most recordings of this masterpiece. I love reading the negative reviews though, because they typify everything that is wrong about most classical devotees: they treat the music like an unapproachable relic to be polished and revered - not interpreted and lived.

Previous reviews are unfair..........2004-04-11

It's nice to hear the Requiem played in a different manner than the typical mush, which is the result of both an overly-sized orchestra and chorus. Fast is not necessarily wrong. Many other reviewers seem to forget that there are many different editions of the Requiem (this one is undoubtedly Sussmayer), which means that one can either be true to Sussmayer or perhaps be true to what they conceive as Mozart's wishes. Mozart spent the last part of his life writing this piece, mentioning that he may have been writing it more for himself than those who were already dead - therefore, more pathos than normal may be just what this piece needs. Too often have I heard the 'Dies Irae' played in a non-dramatic way...'Day of wrath and doom impending' should be played quickly and fiercely...in other words, in a very buscular way. Another case for the legitimacy of this recording (whether you like it is simply a matter of taste) lies in its being in the key of D minor. Mozart rarely used this key, but when he does the piece should always be 'sturm and drang' (if the K.466 piano concerto isn't evidence of this, then I don't know what is). This is a highly ori