In the early 1970's, Marriner was among the first conductors to record Mozart's early symphonies in stereo, a fairly startling and groundbreaking enterprise for the time. Back then, most people had pretty much disregarded most of the composer's youthful writing in favor of the big later pieces. Marriner showed the world the worth of some of the earlier works. PentaTone Classics unearthed the original master tapes for a number of these Marriner recordings that Philips Records had originally done in the Quadraphonic format but never released that way. PentaTone remastered them in a series of four volumes. This first volume containing the Symphony in G, and the Symphonies Nos. 7a, 12, and 18. Needless to say, Marriner and the Academy of Saint Martin in the Fields perform the works with their customary sprightly vigor and refined taste, and the PentaTone engineers remastered the Philips recordings in audio highly reminiscent of how many of us recall Philips discs sounding in the early 70s.

In the early 1970's, Marriner was among the first conductors to record Mozart's early symphonies in stereo, a fairly startling and groundbreaking enterprise for the time. Back then, most people had pretty much disregarded most of the composer's youthful writing in favor of the big later pieces. Marriner showed the world the worth of some of the earlier works. PentaTone Classics unearthed the original master tapes for a number of these Marriner recordings that Philips Records had originally done in the Quadraphonic format but never released that way. PentaTone remastered them in a series of four volumes. This second volume containing the Symphonies 20, 45, 47, 51 in D, and the Symphony 46 in C. Needless to say, Marriner and the Academy of Saint Martin in the Fields perform the works with their customary sprightly vigor and refined taste, and the PentaTone engineers remastered the Philips recordings in audio highly reminiscent of how many of us recall Philips discs sounding in the early 70s.

In the early 1970's, Marriner was among the first conductors to record Mozart's early symphonies in stereo, a fairly startling and groundbreaking enterprise for the time. Back then, most people had pretty much disregarded most of the composer's youthful writing in favor of the big later pieces. Marriner showed the world the worth of some of the earlier works. PentaTone Classics unearthed the original master tapes for a number of these Marriner recordings that Philips Records had originally done in the Quadraphonic format but never released that way. PentaTone remastered them in a series of four volumes. This third volume containing the Symphonies 7 & 8 in D, 9 in C and the Symphonies No. 19 in E flat. Needless to say, Marriner and the Academy of Saint Martin in the Fields perform the works with their customary sprightly vigor and refined taste, and the PentaTone engineers remastered the Philips recordings in audio highly reminiscent of how many of us recall Philips discs sounding in the early 70s.

In the early 1970's, Marriner was among the first conductors to record Mozart's early symphonies in stereo, a fairly startling and groundbreaking enterprise for the time. Back then, most people had pretty much disregarded most of the composer's youthful writing in favor of the big later pieces. Marriner showed the world the worth of some of the earlier works. PentaTone Classics unearthed the original master tapes for a number of these Marriner recordings that Philips Records had originally done in the Quadraphonic format but never released that way. PentaTone remastered them in a series of four volumes. This last volume containing the Symphonies 6, 48, 50, 51, 52 & 55. Needless to say, Marriner and the Academy of Saint Martin in the Fields perform the works with their customary sprightly vigor and refined taste, and the PentaTone engineers remastered the Philips recordings in audio highly reminiscent of how many of us recall Philips discs sounding in the early 70s.

Sir Neville Marriner and the Academy of St. Martin in the Fields present these highly acclaimed world premiere recordings of orchestral works by Gordon Getty. Although most of Getty’s output is vocal music, he has also written for orchestra, chamber ensembles and solo piano and this programme showcases six orchestral pieces, including the overture from his first opera, "Plump Jack".

A masterpiece of moviemaking that won eight Academy Awards, Amadeus is one of the few films about music that presents it with absolute fidelity to its maker's intentions. When producer Saul Zaentz, director Milos Forman, and writer Peter Shaffer asked Sir Neville Marriner to conduct for the 1984 film, he told them yes, "Under one condition, that not one note of Mozart would be changed".

Anyone who knows the series of piano concertos of Mozart with Brendel and Marriner knows of its importance and significance. Few pairings of conductor and pianist have so successfully navigated Mozart’s supreme masterpieces with such panache and style, and when these were released both critical opinion and public acclaim merged as if one voice to proclaim them the most sensational recorded issuances of these works ever accomplished. They were not entirely complete—and this is a shame. But the greats and almost-greats were, making them mandatory acquisitions. This release, one in Pentatone’s series dedicated to reissues of recordings originally made in four-channel surround sound for quadraphonics, is a real beauty, and self-recommending, one of two the company has released so far.

Sir Neville Marriner thins out the usual ASMF textures and leads vigorous, stately accounts of both the Water Music Suites and the Music for the Royal Fireworks. The playing is snappy, the feeling of dance-inspired animation just right. This is the ideal compilation, presenting both scores complete; and the sound is open, well balanced, and extremely well defined.

Originally recorded in 1977, this splendid re-release per of Haydn’s sacred masterpiece in its original fully orchestral version was never released as a CD or in digital, making it one of the highlights of our Marriner centenary jubilee!

Recorded by David Munro and Neville Marriner, who are at the pinnacle of baroque music. This masterpiece album showcases the lively performances of Munro, who was a leading figure in the revival of early music and was known for his avid collection of period instruments and wind instruments from around the world. Recorded in 1973.

The Twelve Grand Concertos, Op. 6, HWV 319–330, by George Frideric Handel are concerti grossi for a concertino trio of two violins and cello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, they became in a second edition two years later Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes.

The Oboe Concerto No. 1 in B flat major (HWV 301) was composed by George Frideric Handel for oboe, orchestra and basso continuo. It was first published in the fourth volume of Select Harmony by Walsh in 1740. Other catalogues of Handel's music have referred to the work as HG xxi, 85; and HHA iv/12,17. The Oboe Concerto No. 2 in B flat major (HWV 302a) was composed by George Frideric Handel for oboe, orchestra and basso continuo. It was first published in the fourth volume of Select Harmony by Walsh in 1740. Other catalogues of Handel's music have referred to the work as HG xxi, 91; and HHA iv/12,47.

The Music for the Royal Fireworks (HWV 351) is a suite in D major for wind instruments composed by George Frideric Handel in 1749 under contract of George II of Great Britain for the fireworks in London's Green Park on 27 April 1749. The music celebrates the end of the War of the Austrian Succession and the signing of the Treaty of Aix-la-Chapelle (Aachen) in 1748. The work was very popular when first performed and following Handel's death.

Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Jephtha (HWV 70) is an oratorio (1751) by George Frideric Handel with an English language libretto by the Rev. Thomas Morell, based on the story of Jephtha in Judges (Chapter 11) and Jephthes, sive Votum (Jeptha, or the Vow) (1554) by George Buchanan. Whilst writing Jephtha, Handel was increasingly troubled by his gradual loss of sight, and this proved to be his last oratorio. In the autograph score, at the end of the chorus "How dark, O Lord, are thy decrees" he wrote "Reached here on 13 February 1751, unable to go on owing to weakening of the sight of my left eye."