mozart

Best of Preludes

Prelude Op.28 N.21

Napster

Prelude Op.45

Youtube

Chopin: The Four Ballades and Beyond

2 Waltzes, Op. posth. 69: No. 1 in A-Flat Major, “Valse de l'adieu”

Glorywave Chronicles is a futuristic cinematic soundtrack album that merges sweeping orchestral motifs with cutting-edge electronic textures. Each composition tells a chapter of an imagined universe — filled with tension, triumph, and transcendence. From thunderous drums to shimmering synths, this album creates a sonic journey through space, time, and emotion. It’s not just a soundtrack — it’s a saga in sound.

Anthem Reimagined

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Piano Sonata No.17 in B-Flat Major, K. 570: III. Allegretto

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Piano Sonata No.16 in C-Major, K. 545: III. Rondo

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Piano Sonata No.16 in C-Major, K. 545: II. Andante

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Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only extant minor key symphonies Mozart wrote.

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

Molto allegro, 2/2
Andante in E-flat major, 6/8
Menuetto. Allegretto – Trio, 3/4
Finale. Allegro assai, 2/2

The minuet begins with an angry, cross-accented hemiola rhythm and a pair of three-bar phrases; various commentators have asserted that while the music is labeled "minuet," it would hardly be suitable for dancing. The contrasting gentle trio section, in G major, alternates the playing of the string section with that of the winds.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Mozart - Symphonies, Sonatas, Serenades, Concertos & Overtures

Symphony No.40 in G-Minor, K. 550:  ‘Great’  III. Menuetto, Allegretto

The Symphony No. 36 in C major, K. 425, (known as the Linz Symphony) was written by Wolfgang Amadeus Mozart during a stopover in the Austrian town of Linz on his and his wife's way back home to Vienna from Salzburg in late 1783.

The entire symphony was written in four days to accommodate the local count's announcement, upon hearing of the Mozarts' arrival in Linz, of a concert. The première in Linz took place on 4 November 1783. The composition was also premièred in Vienna on 1 April 1784.

The autograph score of the "Linz Symphony" was not preserved.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No. 36 in C-Major, K. 425: ‘Linz’ III. Menuetto

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Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. 

The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776.

I. Allegro con spirito

When communicating with his father Leopold, Mozart stated that this movement was to be played with fire. The movement is in sonata form with a short development section. The exposition commences with no introduction with all instruments in unison, this opening motive is quite powerful – the result of cleverly using sharp dotted rhythms to arrest the listener's attention.

The second subject is similar in melodic material and rhythm to the first subject, recalling the monothematic sonata movements of Haydn (e.g. Symphony No. 104).

Mozart places no repeat signs at the end of the exposition. This goes against the standard sonata form convention of the day, but is something that he also does in the three big symphonies which precede the Haffner (No's. 31, 33 and 34).

The development begins with an A unison as a transition from A major to D minor (bars 95–104). After three beats silence, Mozart shifts from the dominant of D minor to an F♯ chord, and then begins a series of rapid chord changes, namely – F♯7 (bar 106), B (bar 109), B minor (bar 110), C♯7 (bar 110). Finally, using C♯7 as the dominant for F♯ minor, Mozart briefly delves in this key (bars 111–120) before using a string of consecutive dominant 7ths (bars 120–129) to work back to the dominant 7th of D major in preparation for the recapitulation. 

The recapitulation is similar to the exposition with the exception of expected differences in the transition passage. This movement closes with a short four-bar coda.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.35 in D-Major, K. 385: ‘Haffner’ I. Allegro con Spirito

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The Concerto for Flute, Harp, and Orchestra in C major, K. 299/297c, is a composition by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concertos that he wrote, as well as the only piece of music by Mozart that contains the harp.

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The piece is one of the most popular such concerti in the repertoire, as well as often being found on recordings dedicated otherwise to either one of its featured instruments.

II. Andantino

The short phrases in this movement are introduced by the strings, and become lyrically extended. This further develops into variations on the theme. The cadenza in this movement leads to a coda, where the orchestra and soli focus on the lyrical theme.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Concerto in C Major for Flute, Harp and Orchestra, KV 299 / 297c: II. Andantino

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Mozart's Clarinet concerto in A major, K. 622 was written in 1791, shortly before Mozart's death, for the clarinetist Anton Stadler. It consists of the usual three movements, in a fast–slow–fast form:

Allegro (in A major and in sonata form)
Adagio (in D major and in ternary form)
Rondo: Allegro (in A major and in rondo form)

It was also one of Mozart's final completed works, and his final purely instrumental work (he died less than two months after its October premiere). 

The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part).

The opening orchestral ritornello is joyful and light, and soon transforms into a flurry of sixteenth notes in descending sequence, played by the violins and flutes while the lower instruments drive the piece forward. After the medial caesura, the strings begin a series of canons before the first closing theme, featuring duelling violin I's and violin II's, enters. 

The soloist exposition of this movement appears on almost every professional orchestral clarinet audition.

Orchestral ritornello: bars 1–56
Solo exposition: bars 57–154
Ritornello: bars 154–171
Development: bars 172–227
Ritornello: bars 227–250
Recapitulation: bars 251–343
Ritornello: bars 343–359

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Concerto for Clarinet & Orchestra In A-Major, KV. 622: I. Allegro

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Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart. 

The German title means "a little serenade," though it is often rendered more literally but less accurately as "a little night music." The work is written for an ensemble of two violins, viola, and cello with optional double bass, but is often performed by string orchestras.

The fourth and last movement is in lively tempo, marked Allegro; the key is again G major. The movement is written in sonata form. Mozart specifies repeats not just for the exposition section but also for the following development and recapitulation section. The work ends with a long coda.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Serenade No.13 in G Major, K. 525 "Eine Kleine Nachtmusik" IV. Rondo

M032-Wolfgang Amadeus Mozart – Violin Concerto #3 In G, K 216 - 1. Allegro

Beethoven String Quartet in E minor Op. 59 No. 2 - I. Allegro

Wolfgang Amadeus Mozart - 1756–1791
is unarguably one of the most prolific and notable classical composers of all time. A child prodigy, Mozart was already proficient on the keyboard and violin by the age of five, composing remarkable works and performing before European royalty. At just 17 years old, he was engaged as a musician at the Salzburg court but, driven by ambition and a restless spirit, he embarked on travels to seek better opportunities.

In 1781, while visiting Vienna, Mozart’s dismissal from his Salzburg post marked a turning point in his life. He chose to remain in the imperial capital, where he gained widespread fame but struggled to achieve lasting financial stability. It was during his final years in Vienna that Mozart created many of his most celebrated works, including symphonies, concertos, operas, and the unfinished Requiem.

Over the course of his short but extraordinary life, Mozart composed more than 600 works, spanning symphonic, concertante, chamber, operatic, and choral genres. These masterpieces are recognized as pinnacles of Western art music and continue to inspire audiences and musicians alike. His enduring influence on classical music is profound, solidifying his legacy as one of history’s greatest composers.

Concerto for Clarinet & Orchestra In A-Major, KV. 622: I. Allegro

Mozart

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