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András Schiff in his own garden, exploring with relish Bach’s Triple Concerto for flute, violin and harpsichord and the enchanted paths of two of Mozart’s most awe-inspiring piano concertos.
Jordi Savall performs Mozart’s Mass in C minor, a monument of sacred music which, while partly influenced by the works of Bach and Handel, possesses a supernatural beauty belonging solely to the Austrian composer.
Mozart dedicated a number of fine opuses to the flute, such as his stunning Concerto No. 1. The splendid Quintet for Piano and Winds and ‘Prague’ Symphony are two more of his triumphs placing woodwinds in the spotlight.
For their second concert dedicated to Mozart, the musicians of the Orchestre de Chambre de Paris and Maxim Emelyanychev perform the composer’s Oboe Concerto, ‘Haffner’ Symphony and Quartet No. 1 for Piano and Strings.
William Christie directs two titans of sacred music: Mozart’s Litaniae Lauretanae, described by Albert Einstein as ‘a marvel of art and youth’, followed by Harmoniemesse, one of Haydn’s most imposing compositions.
Jörg Widmann’s Con brio pays homage to Beethoven’s luminous and spirited penultimate symphony, which in some ways is a throwback to Mozart, whose Sinfonia Concertante is an ode to wind instruments.
Who better than Katia and Marielle Labèque—surely the most famous piano duo of our day—to render the spirit of Mozart’s sublime concerto? Mahler’s Fifth Symphony then draws us into a whole other world, with its opulence and taut expression.
A play of mirrors featuring composers of the present engaging with those of the past: Webern pays tribute to Bach, Adès to Couperin, and Eötvös to Mozart, whose delightful ‘Haffner’ Symphony is the programme finale.
Grating death, parodied death, omnipotent death, death staved off by art: this program invites us to a veritable musical “thanatography”, in which Ullmann's score, rescued from the Nazi terror, preludes Mozart's timeless masterpiece.
Grating death, parodied death, omnipotent death, death staved off by art: this program invites us to a veritable musical “thanatography”, in which Ullmann's score, rescued from the Nazi terror, preludes Mozart's timeless masterpiece.