Works for wind instruments run throughout Mozart's output and occupy a significant place within it - the clarinet, of course, immediately comes to mind. Mozart treats these instruments as soloists in their own right, in a conversational style akin to theatre or opera, perhaps owing to the variety of their timbres and their affinity with the human voice. Yet these works also grew out of decisive artistic encounters with the great virtuosos of his day: Ramm on the oboe, Leutgeb on the horn and Stadler on the clarinet proved extraordinary sources of inspiration at a time when the design and construction of these instruments were undergoing remarkable developments. Gli Angeli Genève's complete recording of Mozart's wind concertos thus spans almost twenty years of creative life, from the galant style of the young Mozart, on the eve of the revelation that Mannheim and it's orchestra would bring, to the incomparable expressive depth of his mature works, which would ultimately serve the Masonic ideals of his final compositions.