1. Im wunderschönen Monat Mai
2. Aus meinen Tränen sprießen
3. Die Rose, die Lilie, die Taube, die Sonne
4. Wenn ich in deine Augen seh
5. Ich will meine Seele tauchen
6. Im Rhein, im heiligen Strome
7. Ich grolle nicht
8. Und wüßten's die Blumen, die kleinen
9. Das ist ein Flöten und Geigen
10. Hör' ich das Liedchen klingen
11. Ein Jüngling liebt ein Mädchen
12. Am leuchtenden Sommermorgen
13. Ich hab' im Traum geweinet
14. Allnächtlich im Traume
15. Aus alten Märchen winkt es
16. Die alten, bösen Lieder

The compositional output of the great German Romantic is largely intertwined with his own personal life and with the way his sensitive nature experienced the events of his life. Not coincidentally, his passionate, youthful love for pianist Clara Wieck gave rise to the composition of monumental piano music. 1840 marked the marriage of Robert and Clara, after her father's initial oppositions had somewhat diminished. This year is often referred to as "the year of the song" for the composer, since during that time he devoted himself almost exclusively to the composition of songs, which reached a total number of 138.

Among these, the vocal cycle "The Poet's Love" stands out, which is undoubtedly one of the most important vocal cycles of Romantic music. The 16 songs are based on Heinrich Heine’s poetic cycle "The Book of Songs". Although no specific narrative flow is formed from one song to another, they all constitute a unity (and therefore usually the whole cycle is presented). It’s a deep introspection of the male soul, who suffers from an unfulfilled love. Of course, this condition was familiar to Schumann, who for years fought for the fulfillment of his own love, being aware of the difficulties he had to overcome.

Thus, in this circle he channeled some of his most sincere and intimate musical ideas. The lyrical line and harmonic development in each song follow the fluctuations of the poetry faithfully and serve the essential mood of each poem, whether it is dramatic, lyrical or humorous. The role of the piano is remarkable, which in many cases doesn’t just accompany the vocal melodic line but embodies the deepest emotional meaning of each song. Within this spirit, in the final sections of the songs, sometimes short and sometimes longer, the piano gets the lead.

The piano trio by Mikis Theodorakis is considered among the works which established him as a composer who served the classical forms faithfully and creatively.

It is yet another work which conveys the intensity and nuances of troubled times to its pages. Composed during February 1947 it surprises the listener with its wide variety of ideas. The individual roles of the instruments are clear-cut as they partake in a mature dialogue, referring to the composer's thoughts of that period. What makes the Trio special is the co-existance of musical, aesthetic and philosophical conflicts. The sum of a composer's declared intentions is always unique: in the case of Mikis Theodorakis, these intentions are stated honestly and fluently, making the listener follow the sequence of meaning and thus identifying themselves with the music.

Sketches for the Op. 69 Cello Sonata appear among those for the Fifth Symphony and the Violin Concerto in material from 1806. The bulk of the composition work on the Sonata took place in 1807, and it was completed in 1808, the year that also saw the completion of the Fifth and Sixth Symphonies, the Op. 70 Piano Trios (including the "Ghost" Trio), and the Choral Fantasy. The arrival of a fine cellist, Joseph Linke, in Vienna that year may have encouraged Beethoven to finish the Sonata. It probably had its first performance on March 5, 1809, at a benefit concert for the cellist Nikolaus Kraft, with Baroness Dorothea von Ertmann at the piano. The Sonata was published by Breitkopf and Härtel in Leipzig in April 1809 with a dedication to Baron Ignaz von Gleichenstein, who had helped Beethoven secure his 4000-florin annuity from a small consortium of noble patrons in Vienna (including the Archduke Rudolph, who was also Beethoven's pupil) in October of the previous year.

The lyrical A major world of this third Sonata conveys -as well as any other work of the period- the self-confident mood that Beethoven was in during the latter half of the first decade of the nineteenth century, before his life was disrupted by the French invasion of Vienna in the middle of 1809. The movements of the sonata vary from the dark shades and the pensive cantilena melody of the 1st movement to the vivid, syncopated scherzo theme and the songlike trio section of the 2nd movement. The gentle lyricism of the cello in the slow 3rd movement is tripping into the Finale, where the exciting virtuosic dialogue of both instruments ends the sonata on a note of noble jubilation.