Płyta 1. Di Carlo, Linda - Sextett C-moll Op. 40 Fuer Klavi 1. Allegro 2. Andante Sostenuto 3. Allegro Vivace Płyta 2. Di Carlo, Linda - Trio Es-dur Op. 44 Fuer Klarinet 1. Andante - Allegro Moderato 2. Adagio 3. Minuetto 4. Allegro Di Carlo, Linda - Trio E-moll Op. 45 Fuer Flote, V 1. Allegro Deciso - Piu Moderato Ed Espressivo 2. Andante 3. Scherzo 4. Finale Louise Farrenc was born in 1804 into an artistic family of painters and sculptors, living in a “commune” near the Sorbonne in her native Paris. At an early age she was admitted to the Paris Conservatoire, where she studied composition and piano, and where she met her future husband, the flautist Aristide Farrenc. Farrenc’ s early compositions were in cultivated Salon style, her later works however are of a more ambitious nature, she composed large scale chamber music and even symphonies. The clarinet and flute trios and the wind sextet on this new recording are written in the Classical/Early Romantic style of Weber, Hummel and Clementi, music of fresh imagination, charm and scintillating instrumental virtuosity. Played with brio and zest by I Solisti del Teatro Dell’Opera di Roma, an elite group led by pianist Linda di Carlo, who already successfully recorded an earlier Farrenc CD (BC94815)

1Trio in A Major for Violin, Cello and Piano: I. Allegro moderato 2Trio in A Major for Violin, Cello and Piano: II. Canzone 3Trio in A Major for Violin, Cello and Piano: III. Scherzo 4Trio in A Major for Violin, Cello and Piano: IV. Rondo 5Prelude, Intermezzo and Fugue in A Minor: I. Preludio – Mosso ma non troppo 6Prelude, Intermezzo and Fugue in A Minor: II. Intermezzo – Moderato 7Prelude, Intermezzo and Fugue in A Minor: III. Fuga – Mosso con brio 8Prelude, Intermezzo and Fugue in C Minor: I. Preludio – Andante comodo 9Prelude, Intermezzo and Fugue in C Minor: II. Intermezzo – Moderato 10Prelude, Intermezzo and Fugue in C Minor: III. Fuga – Moderato poco mosso 11Sonata in G Major: I. Allegro moderato 12Sonata in G Major: II. Andante sostenuto 13Sonata in G Major: III. Vivo e vigoroso 14Sonata in G Major: IV. Allegro con brio

Bach’s set of 30 variations on an original theme were first published in 1742 and composed (so the legend has it) for Johann Gottlieb Goldberg (1727–56), harpsichordist to the Russian ambassador to the court of Saxony Count Keyserlingk. Since that time they have attracted countless arrangements for and by musicians, sometimes in order to lend further colour or tease out the complex counterpoint of the variations, but more often for the privilege and the pleasure of playing this music for themselves, on instruments and in combinations that the composer could never have envisaged: string trio; saxophone quartet, even full chamber orchestra. The fine young recorder quintet Seldom Sene now makes its own contribution to this rich history of Goldberg interpretation with a version created by one of their number, Maria Martinez Ayerza. As she observes in the booklet note for this new recording, it may seem surprising that an ensemble of five musicians chooses to arrange and perform a work which is mostly written in two or three parts, four at most. Indeed, on this disc they play all together for just a couple of minutes, in the Quodlibet, which quotes two rustic folk tunes. However, due to the relatively small range of the recorder, five players are needed to play the complete Goldberg Variations comfortably without making any modifications, which, for us, is an essential condition. The toccata-style variations in particular require a wide range and agile playing in very high and low registers and provide plenty of work for all five players, while some of the canons, arias, fugues and dances work well in smaller settings from duo to quartet. ‘The homogeneous sound of a consort of instruments of the same family suits keyboard music very well,’ says Ayera. ‘Ideally a consort is one instrument in the hands of five players. This is exactly the challenge we have enjoyed the most while preparing the Goldberg Variations: how to think, feel, articulate, time, breath, tune and phrase as one player. On the other hand, the singularity of each musician always remains and is in fact a great advantage, colouring each passage and contributing to shape our common interpretation.’ A previous pair of Brilliant Classics recordings by Seldom Sene was widely reviewed and welcomed in the critical press. Of ‘El aire el Serena’ (music from the courts and cathedrals of 16th-century Spain, BC95304), the MusicWeb reviewer observed that ‘This disc is a model of creative and thoughtful programming… The playing is of the highest order: immaculate intonation and perfect ensemble.’ Their debut album was Taracea (‘A Mosaic of Ingenious Music Spanning Five Centuries’, BC94871), praised by Gramophone: ‘The range of styles in this enterprising recital is only the most striking of several distinctive features. The programme is carefully chosen, the passage between styles cleverly judged on the whole, the contemporary works included here being especially well integrated.’ Bach’s Goldberg Variations have gained iconic status. Ever since the legendary recording of Glenn Gould in 1955 it took the world by storm, and its popularity reaches well beyond the boundaries of traditional classical music audiences. Originally written for “Clavecimbel mit zwei Manuale” the perfect counterpoint and instrumental brilliance of the 30 variations invite for performances on other instruments, finding new facets and hidden treasures in this immensely rich music. This new recording presents a new arrangement for recorder consort, written by the ensemble Seldom Sene. Recorder Consort Seldom Sene has already recorded two highly praised albums for Brilliant Classics: Taracea (BC94871) and “El aire se serena” (BC 95204).

Giovanni Gabrieli (1554/56-1612) was born in Venice into a musical family, his famous uncle Andrea was organist of the San Marco. After serving Duke Albrecht V in Munich Giovanni Gabrieli returned to Venice, where he eventually succeeded his uncle as organist of the San Marco. Gabrieli was one of the most influential composers of his time, the transition from renaissance to Baroque. In his vocal works he invented the polychoral singing, featuring multiple choirs and instrumental ensembles. This new recording contains his complete output for the keyboard, organ and harpsichord. His Canzones, Ricercares and Fantasias are highly innovative, virtuoso works in which in some of them he introduced for the first time dynamic markings. Roberto Loreggian is one of the foremost keyboardists of Italy. In this recording he plays on a historic organ in Valvasone, built around 1533 by Vincenzo Colombi, the specifications of which are included in the booklet, which also contains an essay on Gabrieli by a noted musicologist.

Piccollo, Silvia - Stabat Mater C-moll (Messe) Stabat Mater: Largo O Quam Tristis: Andante Quis Est Homo: Andante Pro Peccatis: Adagio Eja Mater: Cantabile Sancta Mater: Tempo Giusto Fac Me Vere Tecum Stare: Sostenuto Jucta Crucem: Andante Virgo Virginum: Tempo Giusto Fac, Ut Portem: Vivace Fac Me Plagis Vulnerari: Adagio Inflammatus Fac Me Cruce Custodiri: Tempo Giusto Fac Me Cruce Custodiri: Affetuoso Quando Corpus: Largo E Pianissimo Paradisi Gloria: Adagio Dagnino, Giovanni - Dio E La Vergine (Kantate) Rezitativ: Non Anche Avea Natura Arie (Andante): Vergine Bella Rezitativ: Signor, Poiche A Te Piacque Arie (Tempo Giusto): Io Voglio Solo Rezitativ: Da Me Fosti Duett (Spiritoso): Sei Tutta Bella

Płyta 1. Harmonices Mundi - Paratum Cor Meum (Kantate) Harmonices Mundi - Hemmt Eure Traenenflut (Kantate Harmonices Mundi - De Profundis Clamavi (Kantate) Harmonices Mundi - Die Zeit Meines Abschieds Ist V Harmonices Mundi - Jauchzt Dem Herren Alle Welt (K Harmonices Mundi - O Werter Heil'ger Geist (Kantat Płyta 2. Harmonices Mundi - Mein Herz Ist Bereit Harmonices Mundi - Ich Liege Und Schlafe Harmonices Mundi - Entstanden Ist Der Heilige Geis Harmonices Mundi - Wohl Dem, Der Den Herren Fuerch Harmonices Mundi - Der Herr Hat Seinen Stuhl Im Hi Harmonices Mundi - Muss Nicht Der Mensch Auf Diese ? Nicolaus Bruhns (1665-1697) was born in Denmark, where he caught the attention of Buxtehude, becoming his most talented and favourite pupil. He became composer at the Danish Royal Court when his untimely death at age 31 ended a splendid career. Many works by Bruhns have been lost. The young Johann Sebastian Bach has a great admiration for the vocal works by Bruhns, and their influence may be clearly seen in Bach’s early works. ? This new recording presents the complete Cantatas by Bruhns, written in the “Stylus Phantasticus” displaying a notable freedom of form and expression of feeling. ? Performed by 4 excellent vocal soloists and the Harmonices Mundi, conducted by Claudio Astronio, who already recorded successfully for Brilliant Classics works by Handel, Cabezon (complete works) Wilhelm Friedemann Bach and Stradella.

Guandalino, Carlo - Sonate Nr. 2 G-moll Op. 42 1. Maestoso - Piu Moto - Maestoso 2. Adagio 3. Introduction: Allegro Assai - Fuge Guandalino, Carlo - Schmuecke Dich, O Liebe Seele Guandalino, Carlo - Sonate Nr. 6 E-moll Op. 137 1. Aus Tiefer Not Schrei Ich Zu Dir: Grave - Moder 2. Adagio Molto - Piu Moto - Tempo 1 3. Introduction: Allegro Risoluto - Andante - A Te 4. Poco Moderato Guandalino, Carlo - Nun Sich Der Tag (Choralvorspi Here’s a name to conjure with. In fact there have been a few recordings of the nine organ sonatas by Gustav Merkel (1827-1885), though most of them are presently deleted; this new recording offers an excellent opportunity to become familiar with one of the organ virtuosos of his time and place, which is to say 19th-century Germany; more specifically Dresden, where he became organist of the Kreuzkirche and professor of organ at the city’s conservatoire for the last quarter-century of his life. Gustav Adolf Merkel (1827-1885) was a German Romantic composer, mainly for his own instrument, the organ. He completed his studies in Dresden, where he staid till his death as organist and teacher. He also had lessons with Robert Schumann in Leipzig. Merkel’s style is strongly influenced by Baroque counterpoint, notably by Johann Sebastian Bach, which he incorporated in the romantic idiom of his time, with its warm harmonies and long melodic lines. On this new recording we hear two of his Organ Sonatas, large-scale 4- movement works, of which the number 6, “Choral-Sonata” is the most famous. Italian organist Carlo Guandalino plays the magnificent organ of the Cathedral of Thiene (Vicenza, Italy), restored by the famous organ builder Zanin, the specifications of which are included in the booklet. Guandalino’s affinity with the German Romantic repertoire was already apparent in his recording of organ music by Rheinberger (BC95466).

The most extensive guitar collection available! This 40 CD set spans several centuries of guitar music: from the Baroque where the guitar gained preference over its ancestor the Lute, to the Classical Period in which the instrument was emancipated and gained its rightful place as a serious concert instrument, through Spain, its country of origin, right into the 20th century where famous composers extended its sonic possibilities to the very borders of the spectrum. A treasure trove of unprecedented scope and substance, for both connoisseur and music lover, performed by world class guitarists

Somoza, Javier - Libros Nr. 1-3 De Musica En Cifra Nr. 1 Pavana Nr. 2 Tiento Del Septimo Tono: Glosa Sobre El Cum Nr. 3 Tiento Del Octavo Tono: Fantasia Que Contrah Somoza, Javier - Del Codice Saldivar Nr. 4 Folias Italianas Despacio Folias Espanolas Somoza, Javier - Tiento (1957) Somoza, Javier - Variationen A Travers Les Siecles Chaconne - Variation 1: Praeludium - Variation 2: Somoza, Javier - Variationen Ueber Folia De Espana Somoza, Javier - Fuge Somoza, Javier - Quatre Pieces Breves (Fuer Gitarr Nr. 1 Praeludium Nr. 2 Air Nr. 3 Plainte Nr. 4 Comme Une Gigue

1Piano Sonata No. 1 in C Minor, Op. 4: I. Allegro maestoso 2Piano Sonata No. 1 in C Minor, Op. 4: II. Menuetto 3Piano Sonata No. 1 in C Minor, Op. 4: III. Larghetto 4Piano Sonata No. 1 in C Minor, Op. 4: IV. Finale. Presto 5Piano Sonata No. 2 in B-Flat Minor, Op. 35: I. Grave - Doppio movimento 6Piano Sonata No. 2 in B-Flat Minor, Op. 35: II. Scherzo 7Piano Sonata No. 2 in B-Flat Minor, Op. 35: III. Marche funebre. Lento 8Piano Sonata No. 2 in B-Flat Minor, Op. 35: IV. Finale. Presto 9Piano Sonata No. 3 in B Minor, Op. 58: I. Allegro maestoso 10Piano Sonata No. 3 in B Minor, Op. 58: II. Scherzo. Molto vivace 11Piano Sonata No. 3 in B Minor, Op. 58: III. Largo 12Piano Sonata No. 3 in B Minor, Op. 58: IV. Finale. Presto non tanto

1Arie Accademica No. 14 G. 557 2Arie Accademica No. 1, G. 544 3Arie Accademica No. 2, G. 545 4Arie Accademica No. 3, G. 546 5Arie Accademica No. 4, G. 547 6Arie Accademica No. 5, G. 548

This 14-CD set showcases works from Handel's short but astonishingly productive time in Italy in his twenties, just before he settled in London. His travels around the country provided him with the opportunity to meet a number of influential contemporaries, and the results of this compositional flourishing are wide-ranging, from opera via instrumental music to secular cantatas. This release focuses particularly on the latter, affording the listener a fascinating glimpse into the first appearance of many melodic ideas which would later resurface in Handel's mature dramatic works. Indeed, listeners might well feel as though they are listening to scenes from operas – cantatas were a means, at the time, of circumventing the ban on opera in Rome. The familiar theme of the joys and sorrows of love pervades much of the music, but the pieces are richly varied, particularly in their scoring: we hear flutes, recorders, oboes, bassoons, trumpets and the full contingent of strings, including viola da gamba, in numerous different combinations. Often, the orchestral forces for a particular piece are modest, but the emotional depth that Handel draws out is always striking. A high-calibre, international roster of soloists and ensembles performs the works, with many of the compositions for soprano sung by Stefanie True, whose "vocal agility, accurate intonation and stylish ornamentation are spot-on in this repertoire" (Music Web International). Meanwhile, early music specialists Contrasto Armonico bring "soft and warm sonorities" to the set (Gramophone). This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance. The set’s focus is on the secular Cantatas, all of them mini-operas in scale and substance, dealing with human emotions of love, jealousy, hope and despair. The influence of Handel’s stay in Italy can be found in many of his great operas and oratorios he later wrote in London. Apart from the Cantatas the set includes a selection of Italian Duets, and the Serenata Aci, Galatea & Polifemo. Excellent performances in Historically Informed Performance Practice, by Contrasto Armonico, Musica Perduta and specialist vocal soloists. Recorded between 1988 and 2014. Contains liner notes written by Philip Borg-Wheeler.

Płyta 1. Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-12 Nr. 1 Capriccio: Largo - Andante - Adagio Nr. 2 Allegretto Brillante Nr. 3 Rondo: Grazioso Nr. 4 Allegro Moderato Nr. 5 Allegretto Grazioso Nr. 6 Siciliana: Adagio Nr. 7 Rondo: Grazioso Nr. 8 Sonate Fuer Orgel Nr. 8 Nr. 9 Allegro Moderato Nr. 10 Cantabile Nr. 11 Moderato Nr. 12 Fuge Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-5 ('gius Nr. 1 Sonate Fuer Orgel Es-dur Nr. 2 Sonate Fuer Orgel C-dur Nr. 3 Sonate Fuer Orgel C-moll Nr. 4 Sonate Fuer Orgel C-dur Nr. 5 Sonate Fuer Orgel F-dur Bottini, Paolo - Versetti Fuer Orgel Nr. 1-2 ('giu Nr. 1 Adagio Nr. 2 Largo Płyta 2. Bottini, Paolo - Sonaten Fuer Cembalo Und Orgel Nr Nr. 1 Allegro D-dur Nr. 2 Allegro Con Spirito C-dur Nr. 3 Andantino D-dur Nr. 4 Marsch D-dur Nr. 5 Cantabile D-dur Nr. 6 Andantino D-dur Nr. 7 Adagio F-dur Nr. 8 Allegro C-dur Nr. 9 Marsch D-dur Nr. 10 Allegro C-dur Nr. 11 Adagio G-dur Nr. 12 Allegro C-dur Nr. 13 Allegro Aperto D-dur Nr. 14 Andante Sostenuto D-dur Nr. 15 Allegro D-dur Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-6 ('fran Nr. 1 Allegro B-dur Nr. 2 Larghetto Cantabile C-dur Nr. 3 Rondo: Moderato F-dur Nr. 4 Grave Sostenuto A-dur Nr. 5 Allegro Moderato C-dur Nr. 6 Allegro D-dur Bottini, Paolo - Adagio Fuer Orgel F-dur Bottini, Paolo - Versetti Fuer Orgel Nr. 1-16 ('gi Nr. 1 Ripieno Semplice C-moll (Adagio) Nr. 2 Tutti Li Registri A-moll Nr. 3 Ripieno Semplice D-dur (Adagio) Nr. 4 Ripieno Semplice A-dur Nr. 5 Organo Aperto G-moll Nr. 6 Allegro A-moll Nr. 7 Ripieno Semplice E-moll Nr. 8 Principali E Flauti In XII G-moll Nr. 9 Ripieno Semplice G-moll Nr. 10 Principali E Flauti D-moll Nr. 11 Principali E Tromboncini G-moll (Adagio) Nr. 12 Flauto Solo F-dur (Calmo) Nr. 13 Principali, Flauti E Cornetto D-moll Nr. 14 Flauto Solo E-moll (Allegretto) Nr. 15 Tomboncini Soli E-moll (Adagio) Nr. 16 Voce Umana D-moll (Larghetto) Płyta 3. Bottini, Paolo - Sonate Fuer Orgel Und Cembalo 1. Allegro Brillante 2. Brillante 3. Moderato 4. Allegro 5. Allegretto 6. Pastorale Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-9 (Auszu Sonate Fuer Orgel D-dur (Adagio) Sonate Fuer Orgel G-dur (Allegretto) Sonate Fuer Orgel G-dur (Allegretto) Sonate Fuer Orgel A-dur (Andante Sostenuto) Bottini, Paolo - Marsch Fuer Orgel (Allegro) Bottini, Paolo - Sinfonia Ridotta Fuer Orgel (Larg Bottini, Paolo - Grosse Sinfonie Fuer Orgel (Adagi Bottini, Paolo - Sonaten Fuer Orgel Nr. 1-6 Nr. 1 Allegro D-dur Nr. 2 Largo - Rondo: Allegretto C-dur Nr. 3 Allegro Con Spirito F-dur Nr. 4 Largo A-dur Nr. 5 Spiritoso B-dur Nr. 6 Larghetto - Thema Mit Variationen A-dur Bottini, Paolo - Arpeggio (Fuer Cembalo)

An extensive collection favourite Oboe Concertos from the Baroque and Classical Era! The oboe was one of the first wind instruments gaining a solo role in the Baroque. Its strong, nasal timbre, able of expressing both joy and sadness, established the instrument as a leading voice within the instrumental ensemble. This 12CD set contains oboe concertos by Albinoni, Vivaldi, Marcello, Telemann, J.S. Bach, C.P.E. Bach, Bellini, Rosetti, Lebrun, Fiorillo, Dittersdorf, Ferlendis, Hofmann and Mozart. Excellent performances on period instruments by leading soloists in their field: Stefan Schilli, Pier Luigi Fabretti, Andrius Puskunigis and others. Recorded between 1995 and 2015. Contains liner notes written by Philip Borg-Wheeler specially for this release.

Płyta 1. Piolanti, Susanna - Sonate Nr. 1 F-dur 1. Largo 2. Allegro Piolanti, Susanna - Sonate Nr. 2 D-dur 1. Affetuoso 2. Allegro Piolanti, Susanna - Sonate Nr. 3 B-dur 1. Affetuoso 2. Allegro Moderato Piolanti, Susanna - Sonate Nr. 4 C-dur 1. Affetuoso 2. Allegro Płyta 2. Piolanti, Susanna - Sonate Nr. 1 Es-dur 1. Andante Grazioso 2. Allegretto Piolanti, Susanna - Sonate Nr. 2 G-dur 1. Allegro 2. Grazioso Piolanti, Susanna - Sonate Nr. 3 D-dur 1. Affetuoso 2. Allegro Piolanti, Susanna - Sonate Nr. 4 F-dur 1. Andantino Con Espressione 2. Rondo: Andantino

The Stabat Mater depicts Mary standing at the cross of Jesus, weeping at the sight of her son's crucifixion. The poem asks us to share in Mary's pain ('Fac, ut ardeat cor meum') and rejoice in Christ's sacrifice for mankind. The timeless bond between a mother and her son transcends the shifting world around us. Mary's anguish crosses all boundaries, speaking to anyone who has seen a loved one suffering, humanising Christ for experiencing mortal pain even while lauding him as the saviour. Not only is the theme heartfelt and tender, but the Latin text is rhythmic and lyrical, lending itself perfectly to music. The existing versions represent a wonderful diversity of styles. In Palestrina's time, it was important that the music did not interfere with the clarity of the words. His Stabat Mater for eight voices, therefore, is simple, resonant, and wonderfully moving. Vivaldi, Caldara and both Alessandro and Domenico Scarlatti were among the Baroque composers to try their hand next; Vivaldi only set the first ten stanzas, ending with the plea to experience Mary's suffering for ourselves. The music, melancholy and minor, contrasts with Caldara's setting, which includes two trombones. Later composers include Luigi Boccherini, who wrote some florid lines for solo soprano, the only early setting to include a soloist. By the time Haydn came to write his own Stabat Mater in 1767 he would have been familiar with those of Pergolesi and Alessandro Scarlatti. It became Haydn's most performed work in his lifetime, notable for its swapping out of the oboes for two cors anglais in two of the movements, creating a graver and more melancholy sound. Dvořák and Liszt both created highly personal settings of the poem: Liszt because of his strong religious impulse – he wrote the Stabat Mater as part of his oratorio Christus while living in the Vatican, having entered the lower orders – and Dvořák because of a string of personal tragedies. The Czech composer lost his eldest daughter Josefa in 1876, which prompted him to begin sketching the music, and he returned to the composition in 1877 after the deaths of his two surviving children in close succession.

Reina, Nunzio - Fantasia Poetica Reina, Nunzio - Tarantella Reina, Nunzio - Minuetto Lento Reina, Nunzio - Danza Spagnola Reina, Nunzio - Largo Mesto Reina, Nunzio - Saltarello Reina, Nunzio - Idillio Reina, Nunzio - Danza Caratteristica Reina, Nunzio - Danza Esotica Reina, Nunzio - Elegia

Płyta 1. Ruhadze, Igor - Rosenkranz-sonate Nr. 1 (Die Verku Praeludium - Variatio - Aria Allegro - Variatio - Ruhadze, Igor - Rosenkranz-sonate Nr. 2 (Marias Be Sonata: Presto - Allemande: Presto Ruhadze, Igor - Rosenkranz-sonate Nr. 3 (Christi G Sonata: Presto - Corrente - Double: Adagio Ruhadze, Igor - Rosenkranz-sonate Nr. 4 (Christi D Giacona: Adagio Piano - Presto - Adagio Ruhadze, Igor - Rosenkranz-sonate Nr. 5 (Der Zwolf Praeludium: Presto - Allemande - Gigue - Sarabande Ruhadze, Igor - Rosenkranz-sonate Nr. 6 (Leiden Ch Lamento: Adagio - Presto - Aria: Adagio - Adagio Ruhadze, Igor - Rosenkranz-sonate Nr. 7 (Christi G Allemande - Variatio - Sarabande - Variatio Ruhadze, Igor - Rosenkranz-sonate Nr. 8 (Die Dorne Sonata: Adagio - Presto - Adagio - Gigue - Double Ruhadze, Igor - Rosenkranz-sonate Nr. 9 (Der Kreuz Sonata - Courrente - Double - Finale Płyta 2. Ruhadze, Igor - Rosenkranz-sonate Nr. 10 (Die Kreu Praeludium - Aria - Variatio - Adagio Ruhadze, Igor - Rosenkranz-sonate Nr. 11 (Die Aufe Sonata - Surrexit Christus Hodie - Adagio Ruhadze, Igor - Rosenkranz-sonate Nr. 12 (Christi Intrada - Aria Tubicinum - Allemande - Corrente - Ruhadze, Igor - Rosenkranz-sonate Nr. 13 (Ausgiess Sonata - Gavotte - Gigue - Sarabande Ruhadze, Igor - Rosenkranz-sonate Nr. 14 (Mariae H Praeludium: Grave - Adagio - Aria - Aria - Gigue Ruhadze, Igor - Rosenkranz-sonate Nr. 15 (Die Kron Aria - Canzone - Sarabande Ruhadze, Igor - Rosenkranz-sonate Nr. 16 (Passacag Passacaglia - Adagio - Allegro - Adagio - Allegro Płyta 3. Ruhadze, Igor - Sonate Nr. 1 A-dur Praeludium: Adagio - Presto - Adagio - Presto - Va Ruhadze, Igor - Sonate Nr. 2 D-dur Praeludium - Aria - Variatio - Finale Ruhadze, Igor - Sonate Nr. 3 F-dur Praeludium: Adagio - Presto - Aria - Variatio - Va Ruhadze, Igor - Sonate Nr. 4 D-dur Sonata - Presto - Gigue - Double - Double 2: Adagi Ruhadze, Igor - Sonate Nr. 5 E-moll Praeludium: Adagio - Variatio: Allegro - Adagio - Płyta 4. Ruhadze, Igor - Sonate Nr. 6 C-moll Praeludium - Passacaglia - Praeludium - Gavotte - Ruhadze, Igor - Sonate Nr. 7 G-dur Sonata - Aria - Adagio - Ciacona Ruhadze, Igor - Sonate Nr. 8 A-dur Sonata - Aria - Sarabanda - Allegro - Finale: Adag Ruhadze, Igor - Sonate A-dur Adagio - Presto - Adagio - Presto - Adagio - Prest Płyta 5. Ruhadze, Igor - Sonatefuer Violine Nr. 1 C-moll Praeludium - Passacaglia: Adagissimo Ruhadze, Igor - Sonate Fuer Violine Nr. 2 A-dur L Ruhadze, Igor - Fantasia Nr. 3 D-dur Sonata - Presto - Gigue - Variatio - Menuet Ruhadze, Igor - Sonate Fuer Violine Nr. 4 In E-dur Ruhadze, Igor - Sonate Fuer Violine A-dur Represe Allegro - Nachtigall - Cucu - Fresch - Die Henne -

Salcito, Marco - Concertino Fuer Gitarre Und Orche 1. Moderato 2. Andante 3. Com Espirito Salcito, Marco - Concertino Fuer Gitarre Und Orche 1. Allegro Moderato 2. Saudoso 3. Allegretto Com Espirito Colageo, Silvia - Concertino Fuer Gitarre, Flote, 1. Allegro 2. Calmo 3. Ritmado Salcito, Marco - Concerto Fuer Gitarre Und Streich 1. Allegro Moderato 2. Lento 3. Ritmado

Lubotsky Trio - Trio Fuer Streicher Nr. 4 F-dur G 1. Allegro Molto 2. Lento Con Espressione 3. Tempo Di Minuetto Lubotsky Trio - Trio Fuer Streicher Nr. 2 Es-dur G 1. Allegro Maestoso 2. Andante Grazioso 3. Allegro Molto Lubotsky Trio - Trio Fuer Streicher Nr. 5 G-moll G 1. Adagio 2. Rondo: Allegro 3. Tempo Di Minuetto Lubotsky Trio - Trio Fuer Streicher Nr. 6 C-dur G 1. Allegro Assai 2. Larghetto 3. Presto