The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.

The Grammy award-winning pianist Daniel Barenboim, long known for his Mozart interpretations, turns his attention to Mozart’s piano sonatas, a body of work that, while forming the core of the pianist’s repertory, is not often heard in the concert hall. These sonatas showcase Mozart’s genius for the small-scale, and truly shine in Barenboim’s masterful rendering.

Anticipating the 50th anniversary of Orpheus Chamber Orchestra in 2022, we present their complete recordings on DG. The intriguing sound culture of Orpheus, especially of the string section, is often explained as a result of the cooperative mindset of the orchestra and its artistic process of rehearsing.

In the liner notes to this disc, Swedish clarinetist Martin Fröst is described as a "daring performer" who has "stretched the limits of musical expression", likely owing to his frequent collaborations with several contemporary composers including Anders Hillborg and Krzysztof Penderecki. "Daring" does not leap to mind when describing Mozart, and happily Fröst himself does not flaunt his presumed reputation when tackling these popular works.

Even though Vladimir Ashkenazy is most often celebrated for his brilliantly virtuosic interpretations of Romantic repertoire, his skills in playing works of the Classical era are just as worthy, as proved by this 10-disc set from London of Wolfgang Amadeus Mozart's piano concertos. These performances span a period from 1966 to 1988, capturing a youthful and vigorous Ashkenazy playing and conducting the Philharmonia Orchestra and the English Chamber Orchestra from the keyboard, in approved Mozartian fashion. All of the keyboard concertos are here, including the official 27 concertos for piano and orchestra, the Concerto for two pianos in E flat major, K. 365, the Concerto for three pianos in F major, K. 242, as well as the two Rondos K. 382 and K. 386. Ashkenazy's elegant playing has been highly praised by critics and placed on a level with his esteemed contemporaries Murray Perahia, Daniel Barenboim, and Alfred Brendel, all past masters of Mozart's primary medium of expression.

The Grammy award-winning pianist Daniel Barenboim, long known for his Mozart interpretations, turns his attention to Mozart’s piano sonatas, a body of work that, while forming the core of the pianist’s repertory, is not often heard in the concert hall. These sonatas showcase Mozart’s genius for the small-scale, and truly shine in Barenboim’s masterful rendering.

This recording of Così fan tutte was made when the cast was preparing for performances at the 1993 Edinburgh Festival, so the cast had the advantage of enough rehearsal time together to relax into the opera's humor. Their easy rapport is most evident in the spirited recitatives, which sparkle with spontaneity and wit. The fact that the principals are talented comedians makes their unforced interactions genuinely fun, and they sound like they are thoroughly enjoying themselves. Although they are not all international superstars, the performances are stellar. The soloists bring out the humanity and complexity of the opera, and artfully convey their characters' emotional development.

Anticipating the 50th anniversary of Orpheus Chamber Orchestra in 2022, we present their complete recordings on DG. The intriguing sound culture of Orpheus, especially of the string section, is often explained as a result of the cooperative mindset of the orchestra and its artistic process of rehearsing.

After hearing I Musici perform, Arturo Toscanini remarked, "Twelve individual instrumental masters, and together the finest chamber orchestra in the world." This Italian ensemble has long attracted international attention for their emphasis on brilliance, strength of attack, and high level of discipline, beginning with their first performances of seventeenth and eighteenth century Italian music. The group was formed in March 1952 by 12 students at the Accademia di Santa Cecilia, Rome, who developed a common interest in pre-Classical music during conservatory meetings. Upon origination the ensemble was composed of six violins, two violas, two cellos, a double bass, and a harpsichord; there were three women and nine men.

Anyone interested in a high-quality performance of Mozart's violin concertos on period instruments needs to look no further than this inexpensive set. All the youthful exuberance of the music comes through brilliantly in this interpretation, enhanced by the transparent texture of period instruments. Everything from tempi to dynamics is well-chosen and well-rendered, and nothing stands out as being out of place.

This three-disc set of all of the studio recordings of Mozart's piano concertos and sonatas made by German pianist Edwin Fischer between 1933-1947 may elicit different responses from his fans than from listeners not already persuaded of his greatness.

“Unquestionably one of the greatest pianists of all time” is how Gramophone magazine has described Martha Argerich. Her relationship with the label goes back to 1965 and her victory at the International Chopin Competition in Warsaw. Over several decades it has produced a rich catalogue of live and studio recordings, embracing a repertoire that spans three centuries, a diversity of genres, and collaborations with such figures as Charles Dutoit, Nikolaus Harnoncourt, Gidon Kremer, Mischa Maisky and Itzhak Perlman. The complete recordings for EMI Classics, Teldec, Erato and Warner Classics are featured in this box.

The Mozartists present an unprecedented survey of Mozart’s childhood stay in London from 1764-65. The wide-ranging programme includes Mozart’s remarkable first symphony (composed when he was eight years old), along with his two other London symphonies and his first concert aria. The repertoire also explores music that was being performed in London during Mozart’s stay, including works by J. C. Bach, Thomas Arne, Abel, Pescetti, Perez, George Rush and William Bates, many of which have not previously been recorded.

It is true that images have the power to keep a trace of the past. Gottfried von der Goltz and the Freiburger Barockorchestra prove with this recording that music too conceals the secret of the memory deep within. Though rarely played, much less recorded, Mozart’s youth symphonies bear the reminiscence of the child the composer used to be, as well as including the seeds of his future masterpieces.

Mozart Momentum 1785 is the first of two releases on which pianist Leif Ove Andsnes and the Mahler Chamber Orchestra are exploring the remarkable years of 1785/86 in W.A. Mozart's life. It includes piano concertos Nos 20-22, the Piano Quartet in G minor, Masonic Funeral Music and Fantasia in C minor for solo piano.