"The Historia der Auferstehung Jesu Christi, or Resurrection Story, is the first oratorio work by Heinrich Schütz and was first performed in 1623 during the vespers of the third day of Easter in the Chapel of Dresden’s Royal Palace. Although the original title speaks of the ""joyous and victorious resurrection,"" it is, at its core, a quiet and concentrated work with a refined dramaturgy in which the Easter jubilation only slowly breaks through. Schütz's work impressively captures the unspeakable and mysterious nature of the idea of resurrection in music. Ensemble Polyharmonique is a renowned collective of vocal soloists that specializes in the music of the Renaissance and Baroque periods with historical performance practice. In a larger cast and together with an outstanding instrumental ensemble, they present a high-quality, lively and stirring interpretation of the Resurrection History to which they add two wonderful Easter concertos by Heinrich Schütz and Michael Praetorius."

Conductor Herbert Blomstedt is a member of the top rank of modern conductors, having held long-term music directorships in both Europe and the U.S. Specializing in Romantic and early 20th century repertory, he has recorded a substantial body of work and has remained active into great old age. Blomstedt was born on July 11, 1927, in Springfield, Massachusetts, but his parents were Swedish, and they returned to their home country when Blomstedt was four. He grew up partly in Finland. His mother gave him piano lessons, and he took courses at the Royal College of Music in Stockholm while pursuing a general degree at the University of Uppsala. Drawn to conducting, he traveled to Paris for lessons with Igor Markevitch. This phase of Blomstedt's education laid the groundwork for his later versatility as a conductor as he studied contemporary music in the fertile city of Darmstadt in 1949, took pioneering classes in Baroque music with Paul Sacher at the Schola Cantorum Basiliensis in Switzerland, and took lessons at the Juilliard School in New York with Jean Morel, and with Leonard Bernstein at the Tanglewood Festival in Massachusetts. Blomstedt's career was launched as he won the Koussevitsky Conducting Prize in 1953 and the Salzburg Conducting Competition in 1955.

Bruckner’s Fourth Symphony occupies a special position in Anton Bruckner's symphonic cycle. It heralds the cycle of his "mature" symphonies and with it the composer addressed his audience directly and wanted to be understood by them. He succeeded in this - today the “Romantic” is one of Bruckner's most popular symphonies. Still, he revised it time and again and today there are three versions of it.

In June 2021, the Klenke Quartet celebrate their 30th anniversary and have been inspiring international concert life with an unchanged line-up since their foundation in 1991. Consisting of four female musicians, the ensemble has established itself as one of the most important German string quartets and is considered "one of the most distinguished European formations" (GewandhausMagazin). Deepness, vocal quality, intimate music-making paired with a strong program dramaturgy as well as a sound intensity down to the softest note characterize the Klenke Quartet.After the successful recording of the String Quintets by Wolfgang Amadeus Mozart together with Harald Schoneweg, this recording again features Quintets by Mozart, this time with natural horn player Stephan Katte and the clarinetist Nicola Jürgensen as guest musicians.

"The St. Matthew Passion by Johann Sebastian Bach is one of the greatest works in the history of music. Whenever I study this epochal composition, I always ask myself the question: How can a work of music, which is performed each year in thousands of performances, has been scientifically and artistically interpreted for decades, and worshiped for centuries, remain a new, contemporary, and at the same time universal and supreme idea?It can be achieved if that which is defined as established and comprehensive, and appears or is accepted as unshakeable, is set in motion without capping the connections to the work itself and its musical- historical, intellectual and theological foundations." says Hans-Christoph Rademann about one of the monumental sacred works of music history. In November 2020, Rademann and the Gaechinger Cantorey ensemble and chorus, together with an extraordinary group of soloists, set out to lend a new and fresh perspective to Bach's timeless masterpiece of raging choirs, intimate chorales, and emotionally charged arias, which, with its drama and pictorial quality, allows the listener to experience the well-known Passion story again and again as something completely new and unheard-of.

Une fois n’est pas coutume, l’équipe du Palazetto Bru Zane de Venise (Centre de Musique Romantique française) s’encanaille avec l’enregistrement de cette délicieuse et désuète opérette signée Sacha Guitry pour le texte et Reynaldo Hahn pour la musique. Créée aux Bouffes-Parisiens le 5 octobre 1933, cette « comédie musicale en trois actes » est prudemment assaisonnée par une pincée de jazz et de swing avec un zeste de musique viennoise.

Transcribing musical works for other instruments or instrumentations has a long tradition in music history. Sometimes, the composers themselves wrote different versions of their works and often the musicians adapt works for their own instruments. Even great composers have enjoyed arranging the works of their predecessors and have thus transported them into their time and era of music history and lent their own interpretations to them. Among those are Sergei Rachmaninoff, Franz Liszt, and Ignaz Friedman - all three great pianists and composers. Renowned Russian pianist Zlata Chochieva presents their transcriptions of the works of great composers such as Bach, Mendelssohn and Mahler on her new recording.