IV symfonia Es-dur została skomponowana przez Anton'a Bruckner'a w XIX wieku. Dziś doczekała się godnej interpretacji przy udziale Sächsische Staatskapelle i dyrygenturze Karl'a Böhm'a.
Tracklista: Duet for Two Violins Op. 67, No. 1 in A minor 1. I. Allegro 2. II. Andante – III. Rondo vivace Duet for Two Violins Op. 67, No. 2 in D major 3. I. Allegro 4. II. Larghetto 5. III. Rondo vivace Duet for Two Violins Op. 67, No. 3 in G minor 6. I. Allegro 7. II. Tempo di Menuetto – Variations Duets for Two Violins WoO 21, No. 3 in E flat major 8. I. Allegro 9. II. Romance: Andante 10. III. Rondo: Allegro
Tracklista:CD 11. Prelude in B minor, BWV 9232. French Suite No. 3 in B minor, BWV 814: I. Allemande3. French Suite No. 3 in B minor, BWV 814: II. Courante4. French Suite No. 3 in B minor, BWV 814: III. Sarabande5. French Suite No. 3 in B minor, BWV 814: IV. Anglaise6. French Suite No. 3 in B minor, BWV 814: V. Menuet I-II7. French Suite No. 3 in B minor, BWV 814: VI. Gigue8. The Well-Tempered Clavier, Book 1, BWV 846-869: Prelude No. 15 in G major, BWV 860 9. French Suite No. 5 in G major, BWV 816: I. Allemande10. French Suite No. 5 in G major, BWV 816: II. Courante11. French Suite No. 5 in G major, BWV 816: III. Sarabande12. French Suite No. 5 in G major, BWV 816: IV. Gavotte13. French Suite No. 5 in G major, BWV 816: V. Bourree14. French Suite No. 5 in G major, BWV 816: VI. Loure15. French Suite No. 5 in G major, BWV 816: VII. Gigue16. Prelude in C minor, BWV 99917. French Suite No. 2 in C minor, BWV 813: I. Allemande18. French Suite No. 2 in C minor, BWV 813: II. Courante19. French Suite No. 2 in C minor, BWV 813: III. Sarabande20. French Suite No. 2 in C minor, BWV 813: IV. Air21. French Suite No. 2 in C minor, BWV 813: V. Menuet I-II22. French Suite No. 2 in C minor, BWV 813: VI. GigueCD 2 1. French Suite No. 4 in E flat major, BWV 815a (variante): I. Prelude2. French Suite No. 4 in E flat major, BWV 815: I. Allemande3. French Suite No. 4 in E flat major, BWV 815: II. Courante4. French Suite No. 4 in E flat major, BWV 815: III. Sarabande5. French Suite No. 4 in E flat major, BWV 815: IV. Gavotte6. French Suite No. 4 in E flat major, BWV 815: V. Air7. French Suite No. 4 in E flat major, BWV 815: VI. Menuet8. French Suite No. 4 in E flat major, BWV 815: VII. Gigue9. The Well-Tempered Clavier, Book 1, BWV 846-869: Prelude No. 6 in D minor, BWV 85110. French Suite No. 1 in D minor, BWV 812: I. Allemande11. French Suite No. 1 in D minor, BWV 812: II. Courante12. French Suite No. 1 in D minor, BWV 812: III. Sarabande13. French Suite No. 1 in D minor, BWV 812: IV. Menuet I-II14. French Suite No. 1 in D minor, BWV 812: V. Gigue15. The Well-Tempered Clavier, Book 1, BWV 846-869: Prelude No. 9 in E major, BWV 85416. French Suite No. 6 in E major, BWV 817: I. Allemande17. French Suite No. 6 in E major, BWV 817: II. Courante18. French Suite No. 6 in E major, BWV 817: III. Sarabande19. French Suite No. 6 in E major, BWV 817: IV. Gavotte20. French Suite No. 6 in E major, BWV 817: V. Menuet Polonais - Petit Menuet21. French Suite No. 6 in E major, BWV 817: VI. Bourree22. French Suite No. 6 in E major, BWV 817: VII. Gigue
Tracklista: CD 1 1. I. Praeludium 2. II. Sonata 3. III. Aria Con Variazione 4. IV. Minuetto 5. Ciaccona In G Major, HWV435 6. I. Allemande 7. II. Allegro 8. III. Air 9. IV. Gigue 10. V. Minuetto 11. I. Allemande 12. II. Courante 13. III. Sarabande Con Variazione 14. IV. Gigue 15. I. Allemande 16. II. Sarabande 17. III. Gigue CD 2 1. I. Allemande 2. II. Courante 3. III. Gigue 4. I. Allemande 5. II. Courante 6. III. Sarabande 7. IV. Gigue 8. I. Allemande 9. II. Allegro 10. III. Courante 11. IV. Aria 12. V. Minuetto 13. VI. Gavotto 14. VII. Gigue 15. I. Praeludium 16. II. Ciaccona Con Variazioni
"Woman‘s songs, embodying mostly love lyrics, were found throughout Europe during the Middle Ages and reflect a more popular character. The language in these poems tends to be simple and direct. The songs often incorporate aspects of nature: in German songs the linden tree, fields, woods, flowers, and birds are common, whereas the romance-language lyrics tend to utilize the images of the sea, waves, beaches, rivers, and wind. Even in modern the popular traditions of Portuguese fado or French chanson the image of the sea is still prevalent. Other prevailing themes may involve the conflict between the upper and lower classes, strife among married couples resulting in frustrated and dejected wives and suspicious and jealous husbands, dissension between mothers and daughters, as well as discrepancies between sisters, or intimacy between sisters. The woman‘s song unfolded in a variety of genres: strophic refrain songs, dance songs, ballads, chanson de toile, chanson de malmarée, pastourelles, dialogues, motets, etc.One may ask why a recording of primarily “woman‘s songs“ would contain no single song actually attributed to a female composer. The category of medieval woman‘s song embodies lyrics written not necessarily by women, but rather in the female voice – songs seen through the eyes of a woman, spoken by a female speaker. Such songs do not depict the typical male devotion to the lady and do not emphasize the high courtly love tradition of the unattainable lady, but they rather tell more seemingly personal, yet also archetypal stories of the wishes, desires, sorrows, and disappointments of young women. Woman‘s songs, mainly written by male composers – although many have been transmitted without authorship – could perhaps be thought to reflect the male desire and fantasy about women and their reflection of the female stereotype during the Middle Ages, as well as providing a diversion for an audience more sophisticated than the characters represented in the songs themselves. The trobairitz (female troubadour), like their male counterparts, on the other hand, composed mostly in the more artistic courtly love tradition, and except for a few dance songs, they did not seem to have written songs in the more popular style of the woman‘s song. This leads to the speculation that the creation of woman‘s songs could indeed have been a mostly male practice." (Parts of the text of the cd linernotes with this CD).
Zestaw słynnych romantycznych arii – głównie francuskich i włoskich - w wykonaniu charyzmatycznego francuskiego tenora lirycznego.
Gitarowe utwory współczesnych rosyjskich kompozytorów takich jak Konstantin Vassiliev, Sergey Rudnev i Viktor Kozlov w wykonaniu gitarzystki Iriny Kulikovej.
Alfred Brendel interpretuje Schuberta. Wznowienie z serii Virtuoso teraz w specjalnej cenie!
Dwie sonaty na klarnet i fortepian skomponowane w 1894, są ostatnimi kameralnymi utworami Brahmsa. Wykonawcy to Lorenzo Coppola - klarnet oraz Andreas Staier - fortepian.
Opera angielskiego kompozytora epoki baroku Henry Purcella w wykonaniu zespołu Le Concert Spirituel pod dyrekcją Hervé Niqueta.