Arthur Grumiaux's performances of Mozart, whether of the violin concertos, the sonatas, or various chamber pieces with violin, were marked by patrician elegance and an unfailing sense of style. For this 1973 recording of the string quintets, arguably the summit of Mozart's chamber output, Grumiaux surrounded himself with musicians of a similar stripe, and the result remains among the treasures of the catalog. By today's standards, the performances may sound just a bit laid-back and relaxed, but the ensemble is marvelous, and the beauty of tone Grumiaux and company achieved in these readings has rarely been approached on disc since.

The first part of the sacred singspiel Die Schuldigkeit des ersten Gebots, which was first performed in the Knights’ Hall of the Archbishop of Salzburg’s Palace on 12 March 1767, represents Mozart’s first extended dramatic work. He was eleven years old when he wrote it. Even without making allowances for the composer’s remarkable youth, Mozart’s music for the first part of Die Schuldigkeit des ersten Gebots is highly accomplished, full of descriptive flair and artistry. The allegorical figures of Barmherzigkeit and Gerechtigkeit are clearly differentiated, the former’s sympathetic compassion contrasting with the latter’s more matronly severity, while Weltgeist’s carefree hedonism is given full reign in arias of considerable virtuosity and difficulty.

Серия сборников включает в себя идеальное сочетание лучших инструментальных композиций и широкий выбор любимых узнаваемых мелодий.

Трудно найти более романтичного итальянца и дамского угодника, чем Фаусто Папетти. Музыкальные критики, рассуждая о творениях Фаусто Папетти, говорят, что "его аранжировки просты и не перегружены. Его акценты точны и всегда подчеркивают мелодию. Фаусто Папетти никогда не сделает ничего такого, что пошатнуло бы мелодическую основу композиции". Особенностью его сборников стали сексуальные обложки c изображением девушек.

Vladimir Ashkenazy has been a lifelong champion of the music of his compatriot Scriabin. For the composer’s anniversary year he has recorded a selection of works which span the entire output of Scriabin’s works for solo piano: an extraordinary musical journey from late-romanticism to the mystic modernism of his last works. A prelude by Scriabin’s youngest son Yulian – a promising composer and pianist who died tragically young aged eleven – completes this new recording.