Before the First World War rendered all things German anathema, Schumann’s a cappella works, like Mendelssohn’s and Brahms’s, were choral society staples. Today they are probably the most neglected area of his entire output. Not all these settings are free from Lederhosen heartiness – the side of Schumann that wears least well – or Biedermeier blandness. But the range and depth of the best of them, above all the magnificent works for double choir, Op 141, may come as a revelation. Highlights elsewhere include a mixed-choir version of ‘Heidenröslein’ – without Schubert’s piquancy but full of sentimental charm – the tender, touching setting of Burns’s ‘John Anderson’ and the chromatically lush ‘Die Lotosblume’ for men’s chorus, just as sensitive in its response to Heine’s verses as the famous solo song in Myrthen.

Vivaldi’s music-historical importance is indisputable. With the exception of Telemann, no other composer until Mozart produced so much cham­ber music of such a superlative quality. Just like Ludwig van Beethoven, he was an inexhaustible source of inspiration for every composer who followed him. He provided models for instrumental music and he refined the idiom and the technical possibilities of virtually every instru­ment for which he wrote. His concertos for recorder RV 441 and 445 are excellent illustrations of this.

Many of Ysaÿe’s works exist only in manuscript or were not published for many years. This CD presents some premieres from the collection of his compositions in the Royal Library of Brussels. All the members of the Kryptos Quartet are graduates of the Royal Conservatory of Brussels and are united by their passion for chamber music.

Marguerite of Austria (1480-1530) experienced a series of personal tragedies during the first three decades of her life. Despite her misfortunes, she has skillfully ruled The Netherlands for her nephew, Charles V. She is also remembered for her patronage over the arts.

The collection Di Manoli Blessi il primo libro delle Greghesche is the work of the well-known poet Antonio Molino (pseudonym Manoli Blessi). He wrote in a made-up language, a mixture of Venetian dialect and elements of Greek that was given the name of ‘greghesca’. The volume contains music set for four to eight parts. Most of the composers whose works are found there belonged to the highest level of Venetian musical life at that time and were requested by Molino to set his texts to music. Their greghesche first refer to simpler and more popular genres with their chordal and homophonic style and repetitive structures, and then go on to adopt the refined style of the contemporary Italian madrigal.

Arthur De Greef, a piano virtuoso and composer, obtained his excellent results through analysis, reflection and hard work. Amidst all the musical turmoil at the start of the 20th century, De Greef is still composing late-Romantic, graceful and splendidly melodic music. Courage and authenticity was necessary for that. Thematically and harmonically the second pianoconcerto follows the classic form, but it also leans in the direction of the symphonic poem. De Greef clearly intended to express and develop particular emotions in this piece. This can also be seen in the poetic titles given to each movement. In De Greef's Humoresque, the accented rhythms and the repeated leaping motive are the most striking features. The motive springs between the strings to the flute and is followed by a martial theme on the horns. The lyrical middle section is an oasis of peace, with an expressive melody, fine solo passages and muted strings.