The two CDs forming Vol. 2 are also based on a new collection and edition of the extant musical materials. The order of the pieces on the recording initially adheres to the sequence of the chorale settings in the musicological edition. The result includes programs with special thematic Christmas, Passiontide, Easter, Psalm settings, and catechism songs. This new recording is an invitation to listeners everywhere to rediscover Pachelbel's versatility as a keyboard composer.
The Orisha Suite is inspired by some of the Afro-Cuban deities—or orishas—from Lucumí religious lore, with the exception of the soulful, funky, danceable and exquisite opening cut, which is dedicated to—and inspired by—the daughter of the date's leader. As such, nonetheless, the recording is a sonic interpretation of some of the theological tenets associated with this particular religious phenomenon so richly endowed with musical potential. The Orisha Suite has shown that Mossman knows not only how to cast a crew that can communicate and perform together at the level that his music requires, but also how to impersonate his own compositions accordingly as a player with a rich and beautiful tone, fine technique, an inexhaustible well of ideas, and New York street smarts.
Despite Vivaldi’s impressive output of highly demanding solo concertos for 'flauto' or 'flautino' only one single sonata has survived. Nevertheless there is an overwhelming quantity of music which already was subject of many transformations during the famous “Red Priest’s” time. Traces of Vivaldi’s concertos, violin sonatas and even sacred music can be found in a collection of Six Sonatas by Ignazio Sieber, a German oboe and flute teacher at the Ospedale della Pietà.