Mozart: Piano Concertos Nos. 1, KV 37 & 27, KV 595 & Clarinet Concerto, KV 622 is a new volume in the ‘Next Generation Mozart Soloists’ series. It features Mozart’s very first piano concerto (K. 37), composed when he was just 11 years old, and his very last, the Concerto K. 595, finished on 5 January 1791, exactly 11 months before his death.
“The combination of the naive and youthful first concerto with the mature last concerto and its reflection of how much Bach’s music had affected him shows just how extraordinarily his brilliant mind had developed”, says pianist Mishka Rushdie Momen, who performs them under the baton of Howard Griffiths. She studied with Joan Havill, Imogen Cooper, Richard Goode and András Schiff at the Kronberg Academy.
Blaž Šparovec, principal clarinettist of the Gürzenich Orchestra in Cologne, takes on one of Mozart’s very last works, the famous Clarinet Concerto K. 622, “a concerto that can only be compared to an opera in which the basset clarinet plays all the roles”, says Šparovec.
Mishka Rushdie Momen, Piano (Bösendorfer VC 280)
Blaž Šparovec, Clarinet
ORF Radio Symphonieorchester Wien
Howard Griffiths, Conductor
Tracklist
Please note that the below previews are loaded as MP3.Total time: 01:12:27
Additional information
| Label | |
|---|---|
| SKU | ALPHA1236 |
| Qualities | DSD 128, DSD 512, DSD 64, DSD 256, DXD 24 Bit, WAV 96 kHz, FLAC 192 kHz |
| Channels | |
| Artists | Blaz Sparovec, Howard Griffiths, Mishka Rushdie Momen, ORF Radio Symphonieorchester Wien |
| Composers | |
| Genres | |
| Conductors | |
| Original Recording Format | |
| Release Date | June 19, 2026 |
Press reviews
Gramophone
One of the features of the Swiss Orpheum Foundation’s ‘New Generation Mozart Soloists’ series is the opportunity it offers emerging artists to make their mark on some of the foundational masterpieces of the concerto repertoire. BlaŽ Šparovec certainly does that in the Clarinet Concerto – ‘an opera’, he says, ‘in which the basset clarinet plays all the roles’. Howard Griffiths sets the scene with a perky orchestral introduction and is matched by Šparovec’s virtuosity, plunging piquantly into the hybrid instrument’s lowest register in regular departures from the familiar (equally hybrid) score for standard A clarinet. He ornaments liberally and imaginatively too, making the most of the scope for display Mozart gifted to his friend and muse, the dissolute but brilliant Anton Stadler.
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