This is a very entertaining CD of Rossini operatic overtures. A number of these overtures are performed fairly often on concert stage and one of them, the famous William Tell overture, has actually become part of popular culture. The distinguishing feature of this CD is the effort to produce nonanachronistic versions of the music. These performances use scores either derived from Rossini's original autograph manuscripts or reconstructed by scholars from early performance versions of these works. Scores used commonly in the recent past are thought to have a lot of 19th century accretions different from Rossini's original orchestration. The London Classical Players use period instruments and aim for a performance style typical of the early 19th century.

Caprice, violinist David Garrett's 2014 release on Decca, is a lively collection of crossover pieces that reflect his roles as a classically trained virtuoso and a populizer of many kinds of music. It's a balancing act that has great appeal for a large audience of casual listeners, and Garrett communicates both energy and excitement in his elaborate arrangements of music by the Romantic violinist par excellence, Niccolò Paganini, giving a contemporary sound to the Caprice No. 24, La campanella, Carnival of Venice, and other spectacular showpieces.

David Garrett - немецко-американский скрипач-виртуоз, ломает стереотипы своей виртуозной игрой на скрипке, синтезирует классическую музыку с джазом и роком, кантри и фольклором. В данном альбоме отражена классическая составляющая его творчества.

Французский пианист Николя Хорват, лауреат конкурса имени Скрябина, представил первый том проекта Glassworlds - полного собрания сольной фортепианной музыки Филипа Гласса.

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.