From Vivaldi to Mozart, from Beethoven to Tchaikovsky, from Glazunov to Ravel, from Riccardo Muti to Claudio Abbado and famous artists such as Martha Argerich, Anne-Sophie Mutter and Fabio Biondi, the fabulous landscape will take place before your eyes in a peaceful and tormented turn, rich hours of classical music ... I did not try to unearth obscure works or forgotten composers. What I have tried is to invite Internet users to discover the great masterpieces and those who composed them. From there, I selected critical works from the history of classical music.

Because they are unanimously regarded as the beginnings or the culminations of a particular current and history would have been radically altered in their absence, certain works have themselves imposed their presence. I think, for example, of Antonio Vivaldi's "Four Seasons" which are among the most popular works of all time. For many, the very name "Vivaldi" is synonymous with the four seasons and vice versa. I am also thinking of Beethoven's choral fantasy or Sergei Rachmaninov's concerto for piano and orchestra No. 3, of which I propose several publications. Works also written, and it is not by chance if I quote them, by the three great reformers of the concertante work.

Other works, even if they had little repercussion on the evolution of the history of the concertante work, constitute milestones recognized in the manner of a composer or an era. Others, again, are taken up because they constitute an important moment in the collective memory by the public impact of fashion and of success which was theirs. Some were or have remained successful pieces of the repertoire, I will cite as an example the concerto for piano and orchestra No. 5 called "Emperor" Beethoven.

Some of them have been scandalized for musical and non-musical reasons, such as Sergei Rachmaninov's Concerto for Piano and Orchestra No. 4. Some of them favored novelty, even the revolutionary spirit, following the example of Beethoven's choral fantasy, the premise of the ninth symphony; others, on the contrary, imposed themselves by their institutional and agreed character, but all expressed, to varying degrees, the vitality and passion that led composers to sacrifice their hearts, their reason and sometimes their souls ...