This new performance of one of the most emblematic music works ever composed is the debut recording of Insula Orchestra, a new formation (on period instruments) co-founded in 2012 by Laurence Equilbey. Along with an impressive range of soloists (Sandrine Piau, Sara Mingardo, Werner Güra and Christopher Purves) and Accentus, the leading European choir also founded by Laurence Equilbey twenty years ago, they offer an intense and stylish performance of Mozart’s Requiem. Composed in his final year and unfinished, the work is still today shrouded in mystery.

这张唱片收录音乐大师莫扎特创作的小夜曲，包括著名的K525号G大调弦乐小夜曲，月下小夜曲，哈夫纳小夜曲，以及“邮号”不夜曲。由演绎莫扎特的权威大师伯姆指挥柏林乐乐团和维也纳乐乐团演奏，“企鹅”评价三星。 本片的录音全部完成于七０年代，是公认的莫扎特权威－－贝姆晚年的精彩力作。企鹅指南认为贝姆一九七一年与柏林爱乐的「邮号」小夜曲录音“十分地清新，演奏格外地精粹、温暖”，担任长笛演奏的是当今如日中天的詹姆斯?高威。 最受乐迷喜爱的莫扎特「小夜曲」录于一九七六年，企鹅指南认为维也纳爱乐在这里的演奏非常突出，他们以较人性化、充满透视力的省察，将莫扎特音乐中的 微光隐隐透出，使人如沐春风。柏林爱乐所演奏的「哈夫纳」小夜曲则以细致、温暖而充满高度技巧的手法，展现出亮丽而豪华的莫扎特。

The five most brilliant concertos for violin, all penned before the age of 19! Mozart was not even 15 years old when he began composing violin concertos that would serve as a backdrop at Salzburg receptions. An insatiable drive for independence would however lead the young Konzertmeister to overtly challenge musical forms, innovate with genres, humour and frivolity, all of which can be heard in this delightful first collaboration between Isabelle Faust and the musicians of Il Giardino Armonico.

Ottensamer presents a dazzling selection of the clarinet’s early repertoire from 18th Century Mannheim, with works by J. and C.P. Stamitz, Mozart and Danzi, together with the Kammerakademie Potsdam. Featuring duets with Albrecht Mayer and Emmanuel Pahud - two of the great wind soloists of our time and Ottensamer’s friends and colleagues at the Berliner Philharmoniker. It promises to be the chamber recording of the year. The "Mannheim school" was a melting pot of “revolutionary experimentation” - musicians from all over Europe coming together to develop a new explosive and colourful sound – forming the orchestra as we know it today. The Mannheim Orchestra was also the first to adopt the recently developed clarinet into the orchestra, and here Mozart heard the instrument for the first time. “It’s fascinating to think that Mannheim inspired so many composers and musicians, and it was the players themselves who made it happen – it gave them the chance to do their own thing. Every aspect of composition, playing, teaching and conducting was concentrated there, and audiences went wild, blown away by the kind of rock-star ensemble that they heard.” Andreas Ottensamer Ottensamer’s debut album on Decca Classics – the first clarinettist to sign exclusively to the label in its 89 year history.

Jean Fournier (violin), Antonio Janigro (cello), Badura Skoda (piano). This product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

Jean Fournier (violin), Antonio Janigro (cello), Badura Skoda (piano). This product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

专辑介绍： 老光棍唐·阿尔丰索与两位年轻人打赌，说他俩正热恋的两位姑娘，未必像年轻人相信的那样对爱情忠贞不二。不信吗？那就试试。两位青年就佯称充军去了，各自与女友假模假式地作别，暗地里又转回来，装扮成阿尔巴尼亚人，分头去追求对方的女友，软缠硬磨，死乞活赖……总之是戏很多，风趣很多。 就算听不懂唱词，《女人心》的种种滋味、妙趣也很容易从音乐上听出来。一听序曲便知道是典型的莫扎特式的戏谑风格，半是天真，半是调皮。几乎每一首咏叹调都非常好听，对唱和重唱生动活泼且多姿多彩，合唱则真切烘托出场面的气氛。甚至照例只用羽管键琴清淡伴奏的说话般的宣叙调也很有听头，拿腔拿调的很出性格、情趣。就音乐而论，《女人心》是莫扎特最精致的歌剧。乐队中木管乐器的运用噱头十足。 （李杭育编撰《唱片经典》三联书店）

Austrian pianists Jörg Demus and Paul Badura-Skoda were pioneers in the use of historical instruments in the music of Mozart and Beethoven, undertaking their experiments with little institutional support. There was no market for fortepiano recordings in the 1960s and 1970s. Both were born in the late 1920s and made this recording in 2010, well into their eighties. There is precious little to indicate you are not listening to players half that age, and the entire project has a relaxed, satisfied feel, as if Demus and Badura-Skoda were looking at the rise of historical piano performance and showing the world that they still have a thing or two to contribute. They play works for both one and two pianos. The highlight of the program is probably the opening Sonata for two pianos in D major, K. 448, where there is deep coordination between the two masters: the music twists and turns through plenty of slight tempo variations and individual points of expression but seems to breathe as a single organism. One of the other duo works is a genuine Mozart rarity; the Larghetto and Allegro for two pianos in E flat major, K. deest, was apparently left unfinished by Mozart and completed later. That work and the Andante con variazioni in G major for piano four hands, K. 501, seem to hint at mysteries. To round out the program, Demus and Badura-Skoda divide up Mozart's minor-key fantasias and give each of them sharp, percussive readings that capture the dark, improvisatory quality of the music. With fine engineering accomplished at Salzburg's Irnberger Foundation, this is a satisfying Mozart romp with some past masters.