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.

The Apollon Musagète Quartet (Poland) catches the tensions running beneath the work's surface, and in general these are fresh, energetic readings, beautifully recorded.

Susie Napper and Margaret Little have been thrilling audiences with their performances of exotic masterpieces of the 17th and 18th centuries for the past twenty years. Les Voix Humaines are renowned for their spectacular arrangements of a wide variety of music for two viols and their brilliant performances of contemporary music commissioned by the duo.

Igor Markevitch's Tchaikovsky performances have been among the best since the early '60s. He turned the unruly London Symphony Orchestra into a first-rate Tchaikovsky ensemble, in which a finely disciplined approach to rhythm provides the perfect foundation for some highly expressive music-making. The neglected Third Symphony is particularly cogent and exciting in Markevitch's hands.

The Czech-born composer Anton Reicha (1770–1836) was an exact contemporary of Beethoven – and his close friend from their mid-teens. The music of each man shows an awareness of what the other was doing: they showed each other their compositions-in-progress. But although Reicha was closely associated with one of the best-known names in western culture, his own music has been grievously neglected: only his woodwind quintets have achieved any currency. Of his vast cycle of almost forty string quartets just one has been recorded before – an omission this ambitious project intends to put right, thereby revealing one of the most inventive and engaging spirits in classical music.

Итальянец, чей голос способен смешать мелодраму с песенкой из Сан-Ремо, нравится всем. В Германии, стране, которая открыла его в 1996-ом году, он постоянно присутствует в хит-парадах. В США он предмет культа: в нем есть нечто человеческое или слишком человеческое, что примиряет домохозяйку с системой “звезд”, от Стивена Спилберга и Кевина Костнера до жены вице-президента. Президент Билл Клинтон, “Билл-саксофон”, который знает наизусть музыку к фильму “Канзас-сити”, декларирует себя в числе поклонников Бочелли

Второй альбом композитора Max Richter. В нем прослеживается нить произведений Franz Kafka "The Blue Octavo Notebooks" и Czesław Miłosz "Hymn of the Pearl" и "Unattainable Earth", озвученные голосом актрисы Tilda Swinton. Журнал "Pitchfork" описал альбом как "лучшие записи последних шести месяцев и самое влиятельное событие в современной неоклассике". Композиции "Shadow Journal" и"Organum" были использованы в фильме "Waltz With Bashir."