The Instruments Of The Orchestra (CD2) (2002)
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| 1. | Introduction To The Viola | 0:43 | ... | ||
| 2. | TELEMANN. Viola Concerto - I. Largo | 2:46 | ... | ||
| 3. | Khachaturian Gets A Very Different Sound From It, Fuller, Fruitier, More Exotic | 0:15 | ... | ||
| 4. | KHACHATURIAN. Gayane Suite No. 1 - III. Armen's Solo | 1:16 | ... | ||
| 5. | Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola | 0:40 | ... | ||
| 6. | BRITTEN. Passacaglia, Op. 33b (From Peter Grimes) | 1:01 | ... | ||
| 7. | R. STRAUSS. Don Quixote | 1:04 | ... | ||
| 8. | BERLIOZ. Harold In Italy - IV. Orgy Of Brigands | 2:00 | ... | ||
| 9. | The Muted Viola, Intimate, Gentle, Poignant In Dvorak | 0:34 | ... | ||
| 10. | DVORAK. Cypresses - IX. Thou Only Dear One | 3:00 | ... | ||
| 11. | The Massed Violas Of The Modern Symphony Orchestra In Mahler | 0:40 | ... | ||
| 12. | MAHLER. Symphony No. 4 - III. Ruhevoll, Poco Adagio | 1:14 | ... | ||
| 13. | The Period Viola In Bach | 1:05 | ... | ||
| 14. | BACH. Brandenburg Concerto No. 6 - III. Allegro | 5:19 | ... | ||
| 15. | The Cello, A Voice Of Unique Nobility | 0:29 | ... | ||
| 16. | BACH. Suite No. 1 For Unaccompanied Cello - I. Prelude | 2:31 | ... | ||
| 17. | Brahms And The Soul Of The Cello | 0:19 | ... | ||
| 18. | BRAHMS. Piano Concerto No. 2 In B Flat Major - III. Andante | 1:05 | ... | ||
| 19. | Most Orchestral Composers Tend To Emphasise The Cello's Lower Register | 0:28 | ... | ||
| 20. | BACH. Cantata Herz Und Mund Und Tat Und Leben, BWV 147 - Soprano Aria. Scahmen Dich, O Seele, Nicht | 3:04 | ... | ||
| 21. | In The Time Of Beethoven The Cello Remained As Fundamental As Ever | 0:14 | ... | ||
| 22. | BEETHOVEN. Symphony No. 3 Eroica - IV. Finale | 0:47 | ... | ||
| 23. | But The Cello Is Not Condemned To Spend Its Life In The Basement | 0:33 | ... | ||
| 24. | POPPER. Elfentanz, Op. 39 | 2:55 | ... | ||
| 25. | Not Only In Recital Showpieces Like That Is The Cello Used In Its Highest Register | 0:11 | ... | ||
| 26. | TAVENER. The Protecting Veil (Opening) | 2:54 | ... | ||
| 27. | A Cello With An Identity-Crisis, The Pizzicato Flamencan | 0:16 | ... | ||
| 28. | TAGELL. Flamenco | 2:49 | ... | ||
| 29. | Double-Stopping In The Lower Reaches Of The Cello's Range | 0:31 | ... | ||
| 30. | CASSADO. Solo Suite For Cello & Piano - Sardana | 1:08 | ... | ||
| 31. | It's In Its Middle Register That The Cello Really Comes Into Its Own | 0:21 | ... | ||
| 32. | RACHMANINOV. Oriental Dance, Op. 2 No. 2 | 1:33 | ... | ||
| 33. | Two Famous Themes Given To The Cellos. BEETHOVEN. Symphony No. 5 - II. Andante Con Moto | 0:54 | ... | ||
| 34. | BEETHOVEN. Symphony No. 9 - IV. Finale | 0:55 | ... | ||
| 35. | Introduction To The Double-Bass | 0:43 | ... | ||
| 36. | SAINT-SAENS. The Carnival Of The Animals - The Elephant | 1:33 | ... | ||
| 37. | But The Double-Bass Can Be Intensely Expressive And Graceful | 0:11 | ... | ||
| 38. | BOTTESINI. Elegy No. 1 In D Major | 2:37 | ... | ||
| 39. | The Range Of The Double-Bass. BOTTESINI. Allegro Di Concerto, Alla Mendelssohn' | 0:48 | ... | ||
| 40. | The Virtuosity Of The Double-Bass. BOTTESINI. Capriccio Di Bravura | 4:42 | ... | ||
| 41. | Solos. MAHLER. Symphony No. 1 Titan, III. Feierlich Und Gemessen, Ohne Zu Schleppen - Symphony No. 3, I. Kraftig | 1:34 | ... | ||
| 42. | Muted. PROKOFIEV. Lieutenant Kije Suite. II. Kije's Wedding - Tremolo. Romeo And Juliet. Act IIi' | 2:26 | ... | ||
| 43. | Frightening The Double-Bass Players. BEETHOVEN. Symphony No. 5 - III. Allegro | 1:21 | ... |
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