The majority of Mayall and the Bluesbreakers' best material from the early '70s is collected on this 29-track, double-disc set. Although Clapton appears on a couple of songs, the playing on Room to Move isn't as universally breathtaking as it is on London Blues, but the collection is thoroughly listenable, and it does feature many fine musicians.

For many years Tangerine Dream have been very much into the soundtrack business, and most of them have been released on CDs. In early 1996 appeared one of their probably most surprising releases. Zoning is a German thriller produced 1986/87, which could be seen on TV screen for a few times only and then disappeared. Without any information before, it had been re-released in the video format nearly ten years later, accompanied by a soundtrack CD with the music of TD used for this video. Edgar Froese had recorded and mixed the whole score in 1994, eight years after TD produced the first version of this soundtrack. Thus, most of the music on this CD sounds quite different from the original film score; the musical style fits more into the previously unreleased material from Edgar Froese's Beyond The Storm…

Handel’s Messiah is already very well represented on the market with dozens of existing recordings and new productions appearing at regular intervals. Yet this is a very special version, carefully crafted by the Prague-based Collegium Vocale and Collegium 1704 under the baton of Vaclav Luks, founder of the ensemble and one of the most exciting conductors of the Baroque and Classical repertoire. The fine young singers Giulia Semenzato, Benno Schachtner, Krystian Adam, and Krešimir Stražanac joined the ensembles for two moving live performances in Prague’s Rudolfinum in March 2018, and those performances are now presented here.

Beethoven's second set of quartets, Opus 59, inhabit a very different universe from that of his first set, Opus 18. Although only six years had passed since the publication of the Opus 18 quartets, Beethoven's style changed immensely. The Opus 59 quartets were composed in the wake of the "Eroica" Symphony, and the vastness of the individual movements; the symphonic, orchestral character of the string writing; and the stretched formal boundaries led some critics to dub the first of the set an "Eroica" for string quartet.

Brahms’ string concertos are indissolubly linked with the musicians for whom the works were written. He wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection.