Classical CDs: Mozart, soprano Janeanne Houston, more

If you think this Mozart year (the composer's 250th birthday) has brought forth an unusual amount of recording activity, you'd be right.

Among the most recent tributes to Amadeus are a nifty three-disc set from Sony Classical, "Mozart 250: A Celebration of the Genius of Mozart," including selections from some of his most beloved works: the "Jupiter" Symphony, the Clarinet Quintet and Clarinet Concerto, the operas ("Don Giovanni," "Marriage of Figaro"), favorites like "Eine kleine Nachtmusik," and several concerti among them. On the roster of artists for this compilation/reissue are Alicia de Larrocha, the Cleveland Orchestra, Budapest String Quartet and others too numerous to mention. Warning: These are excerpts, not complete works, but in sum they'll give you quite the overview of this matchless composer.

Mozart also is the focus of a sparkling new double-disc set from violinist James Ehnes with the Mozart Anniversary Orchestra (an ensemble made up of players from several leading orchestras) on CBC Records. On "James Ehnes: Mozart" he plays all five of the authenticated violin concertos, all from Mozart's teen years, with Ehnes' own stylish cadenzas. His glorious tone is shaped with care and finesse in these performances; the small, agile orchestra is his perfect complement. Ehnes appeared here with the Seattle Chamber Music Society, by the way, in the Winter Festival earlier this month.

Finally, the wonderfully quirky violinist Andrew Manze and his English Concert (Harmonia Mundi USA) have produced "Mozart: 3 Violin Concertos," a set of violin concertos K.216, 218, 219, composed in 1775, in period-instrument versions that never lack Manze's strong individualism and his ability to surprise the ear.

Of course, there's more than Mozart happening in classical music CDs.

"The Shining Place," Janeanne Houston (Elmgrove Productions): On this new CD from this polished and very communicative soprano, Houston continues her stellar discography.

With oboist Shannon Spicciati and pianist Robert Jorgenson, Houston's clear, high-flying voice is right on target in readings of contemporary songs, many of them of an elegiac nature. Lee Hoiby's settings of Emily Dickinson poetry (the title song set) are especially fine; songs of Lori Laitman and Stephen Paulus are also among the more exceptional tracks. Houston, who teaches at Pacific Lutheran University, has another winner here.

"Italian Songs," Lawrence Brownlee (EMI Classics): The very fine young tenor Lawrence Brownlee, formerly based in Seattle (where he has dazzled Seattle Opera audiences and also won the Metropolitan Opera Auditions), has shot to international fame with his beautifully natural voice with its easy, nearly infinite top register. Here he displays those attributes, plus a natural affinity for the Italian song, in a recital disc of Bellini, Verdi, Rossini and more, with the suave elegance of seasoned recital pianist Martin Katz as an ideal partner.

Pianists love Beethoven, and here's the proof — recent discs by four top keyboard artists, all tackling Beethoven's mighty piano sonatas.

Nikolai Lugansky, famous for his fire-eating technique, has a surprisingly dulcet, tender set of four sonatas ("Beethoven: Sonatas Nos. 7, 14 'Moonlight,' 22, 23 'Appassionata,' " Warner Classics). Lugansky, by the way, is due in Seattle March 22 for a duo recital with violinist Vadim Repin; call the Seattle Symphony for tickets.

Kun-Woo Paik offers a beautifully detailed, songful approach to the Sonatas Nos. 16-26 in a new three-disc set that's meticulous and elegant all at once ("Beethoven: Piano Sonatas 16-26," Decca).

Paul Lewis has inaugurated his series of all the 32 sonatas with "Beethoven: Complete Piano Sonatas, Vol. 1," Harmonia Mundi USA) a disc offering the three sonatas of Op. 31 (including a truly tempestuous reading of the "Tempest" Sonata).

But for those who value imaginative interpretation, "Beethoven: Appassionata; Waldstein; The Tempest" (Naive Classique), the new disc by the young Turkish pianist Fazil Say is the most daring and intriguing. He plays the "Appassionata," the "Tempest" and the "Waldstein" — an unbeatable trio — Say's own way, and it works remarkably well.

Melinda Bargreen: mbargreen@seattletimes.com