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Mozart's Clavichord

Alexander Gergelyfi (clavichord), Georg Nigl (baritone)

Mozart's Clavichord

Awards:

In the purely instrumental pieces Gergelyfi demonstrates, via his arrangement of the fugal overture to the opera Die Zauberflöte, how the different 'voices' can be given different weight and...

Mozart's Clavichord

Alexander Gergelyfi (clavichord), Georg Nigl (baritone)

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This release includes a digital booklet

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Awards:

In the purely instrumental pieces Gergelyfi demonstrates, via his arrangement of the fugal overture to the opera Die Zauberflöte, how the different 'voices' can be given different weight and...

About

How did Mozart hear his own music at home in Salzburg? This recording provides the answer, as it was made not only in the house in which he lived but also with the clavichord that he used to compose Die Zauberflote, La clemenza di Tito and the Requiem. While its keyboard has the same five-octave range as the fortepianos that Mozart used for concerts, the clavichord's weaker sound limited it to domestic use, to be heard by family members who happened to be present or collaborators. Baritone Georg Nigl and early keyboard specialist Alexander Gergelyfi have devised an intimate programme of arias, overtures, cantatas, Lieder, fantasias, rondos and even the poignant Lacrimosa from the Requiem. This unique album lets us enter Mozart's own house in Salzburg, where we can sit next to an instrument he himself played and listen to two exceptional performers, both of whom are irrevocably smitten with the genius loci.

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Awards and reviews

  • Presto Recording of the Week
    18th July 2025

October 2025

In the purely instrumental pieces Gergelyfi demonstrates, via his arrangement of the fugal overture to the opera Die Zauberflöte, how the different 'voices' can be given different weight and emphasis, and in the march from La Clemenza di Tito he commands its dynamic range...The Mozart lieder are a rare treat.

18th July 2025

Whilst there’s a certain rough magic to hearing the Overture to Die Zauberflöte performed on the very keyboard where it was conjured into life, the writing taxes the little instrument to its limits. To settle into this album’s rich and strange sound-world rather more gently I’d begin with one of the works which were composed for the keyboard rather than merely at it...Although the instrument itself naturally gets top billing, much of the pleasure of this programme comes from Georg Nigl’s imaginative, infinitely sensitive responses to its delicate hues.
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