Most of the time, this is a stunning Schubert recital. Together, soprano Johannette Zomer and pianofortist Arthur Schoonderwoerd have put together a program that balances songs and solos. Between sets of the two Suleika settings, the three Ellens Gesang including the "Ave Maria," the single Gretchen am Spinnrade, and the final Mignon, they have placed the very early Fantasie in D minor, a pair of reflective minuets, and the introspective Adagio in C major. Together, Zomer and Schoonderwoerd perform marvelously.

Most recordings of Wolfgang Amadeus Mozart's Requiem in D minor are based on the completion by Franz Xaver Süssmayr, which has become the standard performing version, though some of these offer minor modifications of the orchestration and alterations of Süssmayr's awkward counterpoint. Yet as far as historically informed reassessments of the Requiem are concerned, perhaps only Arthur Schoonderwoerd's performance with the Gesualdo Consort and Cristofori on the Accent label is an attempt to re-create the experience of a funeral mass in Vienna in the 1790s.

This disc, covering Beethoven's first two piano concertos, is the last of a series of three Beethoven concerto discs by historical pianist Arthur Schoonderwoerd, playing an 1800 Walter fortepiano and accompanied by the small ensemble Cristofori. The ensemble basically involves one instrument per part. The other booklets contain more elaborate justifications for this procedure, but here the only evidence given involves the cover pages of the original publications of the concertos, which refer to the instruments in the singular.

et ready for the shock of the new , or, in this case, the old. This disc of Beethoven concertos by keyboardist Arthur Schoonderwoerd has a highly unusual sound, even by the standards of the historical-performance movement. Performances of the Beethoven concertos in period style are rarer than those of the sonatas, which are themselves rarer than those of music by Mozart and Haydn. This is partly because the whole issue is more problematical with Beethoven, who was clearly striving toward larger dimensions. But Schoonderwoerd makes some educated guesses about actual pianos, ensembles, and techniques that might have been used, and apparently were used at times.