The album’s programme has been carefully thought out. From the list of compositions reflecting my personal sensitivity and aesthetic (scored for various performing forces, from solo to symphonic), I could only select those written for violin and piano, plus one soloistic work.

Two String Quartets (1980, 2019), as well as Trio for Violin, Clarinet and Piano (2003), are works of particular importance in the chamber music chapter of the oeuvre of Eugeniusz Knapik, a composer who is arguably better known today for his monumental vocal-instrumental works – stage and non-stage.

In her interpretation of Telemann’s Fantasias, Małgorzata Malke takes her listeners on a journey to 18th- century Poland, a land which Telemann often visited, drawing inspiration from Polish folk music.

Weinberg began writing another string quartet on 25 November. He finished this first “student work”, and his second for such a line-up, on 13 March 1940. He dedicated it to his mother and sister, whose fate was unknown to him.

Two people – that’s all it takes to carry on an interesting and inspiring conversation. Two instruments constitute also the smallest possible ensemble – the dialogue.

Alfred Schnittke – author of three operas, ten symphonies as well as numerous concert and chamber works – had a complex and confusing identity.

Baroque music, early 20th-century compositions, and… negro spirituals. What brings these elements of a varied and apparently incoherent repertoire together into an attractive whole is the extraordinary figure of Roman Maciejewski.

For every musician and music lover, discovering a new work is a great joy and satisfaction.

“The String Quartet that Weinberg completed in May 1937 bears no resemblance to the music that young Warsaw composers were fascinated with at that time."

The programme of this album has several threads that allow you to listen to it in many ways.