Today’s concert presents two radically different approaches to re-imagining Mozart’s music, directed by Ian Peters, the Head of Woodwind Studies at the University of Southampton. The first consists of an early nineteenth-century arrangement of Mozart’s opera Don Giovanni for fourteen wind and brass instruments and the second of two new compositions reflecting on Mozart’s late music for glass harmonic. Mozart’s operas were always arranged for wind instruments, and Mozart himself mentions his attempts in 1782 to work on a wind arrangement of Die Entführung aus dem Serail before somebody else took all the profits (he failed). But most of his operas exist in arrangements for various types of ensemble and students from the Department of Music at the University of Southampton present movements from Don Giovanni in an arrangement by Anton Schneider, made c1825 for the so-called Gardemusik at the Court of the Thurn and Taxis family at their palace in Dischingen. The arrangement opens a window on how such works as Don Giovanni were heard in small scale arrangements across Europe in the early nineteenth century. In counterpoint to this arrangement are world premieres of two new works by graduate composers at the University of Southampton: Martin Humphries’ Moz Pit for saxophone ensemble which revisits the dances from act i of Don Giovanni; and Alexander Glyde-Bates’ Re: Mozart which reworks the Fantasy in f minor for mechanical organ K. 608 for double wind quintet and piano.