Anticipating the 50th anniversary of Orpheus Chamber Orchestra in 2022, we present their complete recordings on DG. The intriguing sound culture of Orpheus, especially of the string section, is often explained as a result of the cooperative mindset of the orchestra and its artistic process of rehearsing.

This album, the first in a series devoted to the 41 symphonies of Michael Haydn, leads off with perhaps the most historically famous one of all: the Sinfonia in G major, Perger 16, is none other than the missing Symphony No. 37 of Mozart, which was not removed from the Mozart canon until 1907. The reason for the error was that a copy of the work exists in Mozart's handwriting; he wrote a slow introduction to the first movement (not performed here), and apparently copied out the piece in preparation. It remains difficult to believe that listeners' suspicions weren't raised before that; the work's simple, squarish movements resemble those of the symphonies Mozart wrote in his mid-teens.

Philippe Herreweghe and the Antwerp Symphony Orchestra explore the tormented world of Robert Schumann. Symphonies Nos. 2 and 4 plunge us into the psychological tangles of the composer's mind, reflecting his relentless struggle with melancholy and depression. In these two seminal works, a slow and somber introduction unveils the main motifs that will unfold throughout, before culminating in an emphatic and optimistic finale. The director from Ghent (and former psychiatrist) pHilippe Herreweghe manages to grasp the full complexity of this cathartic process leading us from darkness into light. He delivers a lively and urgent interpretation of these romantic masterpieces, confirming his reputation as an unrivalled performer of the German repertoire.

This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax. Jarrett again turns his early rampant eclecticism loose - from earthy gospel-tinged soul-jazz to the freewheeling atonal avant-garde - yet this time he does it with an exuberance and expansiveness that puts his previous solo work in the shade…

Máquina! is maybe the very first underground rock group to have recorded in Franco's Spain, their first single dating back to early 69, and the following year, their first LP was out with a striking artwork depicting a clock coming out from a croissant meaning that it was time to wake-up (and have breakfast) in Spain. The album was called Why? and it was clearly so rebellious under a dictature that fellow group Tapiman (and Barcelona crosstown rivals/friends) answered them with a track Don't Ask Why. The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years.

Gallery of Flavours was a mystical electronic concept work that combines classic Teutonic passages with spatial Eastern symphonic arrangements. Dharana proved once again that expensive high-end equipment for tens of thousands euros should not be the basis of spherical music. Rather, with more modest devices prove that everything you need, you can pull out of the available synthesizers and samplers. It can be expected everything, but nothing like great spherical sound escapades. Dharana skill needs to be indebted because of those Vangelis-like structures reminiscent of "Soil Festivities" by aforementioned Greek. The latter is one of the monumental works in the pre-1492 time - here you hear the second part by Dharana. But you can also guess that Jarre and Kraftwerk left their influence here and there. Guess because Dharana differs with their very changeable style from the beaten track…