An irreverent take on Mozart's relations with the three Weber sisters: Louisa, whom he loved, but who didn't love him; Constanza, whom he loved and married; and Sophie, who loved him but whom he didn't love. An anthology of arias from Mozart's operas, in which art comments on life through a cheeky use of back-projection and miming to records.
The Serenade No. 10 for winds in B-flat major, K. 361/370a, is a serenade by Wolfgang Amadeus Mozart scored for thirteen instruments: twelve winds and string bass. The piece was probably composed in 1781 or 1782 and is often known by the subtitle "Gran Partita", though the title is a misspelling and not in Mozart's hand. It consists of seven movements.
Mozart's keyboard works for four hands feature among the most delightful and entertaining of his compositions. Indeed, a favourite family pastime was to play duets on a harpsichord or pianoforte. The young Wolfgang and his sister Nannerl apparently spent many happy hours playing together on the same keyboard. This we learn about from the English music historian and traveller Charles Burney reporting in 1772 : «By a letter from Salzburg (…) I am informed that this young man, who so much astonished all Europe by his premature knowledge and performance, during infancy, is still a great master of his instrument. My correspondent went to his father's house to hear him and his sister play duets on the same harpsichord.».
Mozart was without a doubt one of Edvard Grieg's favourite composers. When his mother gave lessons or entertained family and friends for an evening of music, it was the music of Wolfgang Amadeus Mozart which made the greatest impression on him. During the winter of 1876/77 he arranged four of Mozart's nineteen piano sonatas for two pianos by adding his own, newlsy composed part. What is special about Grieg's adaptations of the Mozart sonatas is that he has not reworked them in the traditional - and perhaps derogatory - manner. Grieg's unusual achievement lies in the fact that he has retained Mozart's text unchanged, adding an entirely new part which can be performed together with the original. When both parts are played, they interweave and become something entirely new. Two different musical styles meet in dialogue, ending up in a symbiosis of colour and texture. Mozart's music expands in time and space. Grieg's additional piano part is a romantic's respectful embrace, a romantic commentary; Mozart in romantic guise.