Utwory na płycie:

• Danse des filles des bouffons
• L'arrivée du marchand, la danse des révérences
• Dans la chambre a coucher du marchand
• La jeune fille est devenue chevre
• Entr'acre et l'enterrement de la chevre
• La querelle du bouffon avec le marchand
• Danse finale
• Lieder op. 34 Nr. 1-2 - Nr. 1 Der Abend
• Lieder op. 34 Nr. 1-2 - Sara dolce tacere (Canto per 8 Soli)
• Lieder op. 34 Nr. 1-2 - Träume (Studie zu Tristan und Isolde)
• La sera si prolunga
• Ora il vento s'e fatto silenzioso
• Nella tenebra, mutta
• A bufera s'e aperto, al buio, un porto
• Il mio declinio abberlliro, stasera
• Piu non muggisce, non sussurra il mare
• Im Treibhaus (Studie zu Tristan und Isolde)
• Liebeslied (für gemischten Chor und Instrumente) (1954)
• Lieder op. 34 Nr. 1-2 - Nr. 2 Hymne
• Lieder nach Gedichten von Friedrich Rückert Nr. 1-5 - Ich bin der Welt abhanden gekommen

Ravel:
Manuel de Falla:
El Sombrero de Tres Picos - Complete Ballet

Sergei Prokofiev:
Chout - Suite from the ballet for orchestra, Op. 21a

When de Falla wrote “The Three-Cornered Hat“ in 1916-1919 (after a story by Pedro Antonio de Alarcón), he was already a well-known composer. The first version developed as a Pantomime, Diaghilev saw this version in Madrid and was enthusiastic. He commissioned de Falla to develop his score into a ballet, and when the First World War came to an end, de Falla presented Diaghilev with his finished score. The ballet was first performed in 1919 in London, conducted by Ernest Ansermet, with set designs and costumes by Pablo Picasso - it was his first work designing for a ballet. The final score was a marvelous work, one of de Falla’s most beautiful and it is presented here in its entirety. Prokofiev’s “Chout” received its first performance in Paris, in1921, where it was well-received. The score, calling for a large orchestra, is richly melodic, and has a typical Russian folkloric quality as well as the burlesque elements that would appear in many of Prokofiev’s most famous works.