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Serenade
Schwanengesang ("Swan song"), D.957, is the title of a collection of songs written by Franz Schubert at the end of his life and published posthumously.
The songs of Schwanengesang, as found in Schubert's manuscript:

"Message of love" the singer invites a stream to convey a message to his beloved.
"Warrior's foreboding" a soldier encamped with his comrades sings of how he misses his beloved, and how he fears the prospect of dying, or losing his courage, in battle.
"Longing in spring time" the singer is surrounded by natural beauty but feels melancholy and unsatisfied until his beloved can "free the spring in my breast".
"Serenade" the singer exhorts his lover to make him happy.
"Resting place" the singer is consumed by anguish for reasons we aren't told, and likens his feelings to the river, forest and mountain around him.
"In the distance" the singer has fled his home, broken-hearted, and complains of having no friends and no home; he asks the breezes and sunbeams to convey his greetings to the one who broke his heart.
"Farewell" the singer bids a cheery but determined farewell to a town where he has been happy but which he must now leave.

Canon
Pachelbel's Canon, like Pachelbel's other works, although popular during his lifetime, soon went out of style, and remained in obscurity for centuries thereafter. A 1968 arrangement and recording of it by the Jean-François Paillard chamber orchestra became unexpectedly popular over the next decade, and in the 1970s the piece began to be recorded by many ensembles; by the early 1980s its presence as background music was deemed inescapable

Moonlight Sonata
The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, popularly known as the Moonlight Sonata, is a piano sonata by Ludwig van Beethoven. It was completed in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi.
This piece is one of Beethoven's most popular compositions, and it was a popular favorite even in his own day. Beethoven wrote the Moonlight Sonata in his early thirties, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.

Romance d' Amour
Its origins and authorship are currently in question. It is suspected of originally being a solo instrumental guitar work, from the 19th century. It has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Miguel Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes.
The Anónimo (anonymous) part of its name has been incorporated over the years due to this uncertainty. The question of authorship has probably been propagated by three main reasons: the lack of claim by its true author, the desire to avoid paying copyright fees, and the desire of publishing companies to claim the lucrative copyright of this world-famous piece.
The style of the piece is that of the Parlour music of the late 19th century in Spain or South America, having a closed three-part form: the first in the minor key and the second being in the major key, with the third being a restatement of the first.

Greensleeves
A ballad by this name was registered at the London Stationer's Company in September 1580, by Richard Jones, as "A Newe Northen Dittye of ye Ladye Greene Sleves".
Six more ballads followed in less than a year, one on the same day, 3 September 1580 ("Ye Ladie Greene Sleeves answere to Donkyn hir frende" by Edward White), then on 15 and 18 September (by Henry Carr and again by White), 14 December (Richard Jones again), 13 February 1581 (Wiliam Elderton), and August 1581 (White's third contribution, "Greene Sleeves is worne awaie, Yellow Sleeves Comme to decaie, Blacke Sleeves I holde in despite, But White Sleeves is my delighte").
It then appears in the surviving A Handful of Pleasant Delights (1584) as A New Courtly Sonnet of the Lady Green Sleeves. To the new tune of Green Sleeves.

Tico-tico
"Tico-Tico no Fubá" is a Brazilian choro song written by Zequinha de Abreu in 1917. Its original title was "Tico-Tico no Farelo" ("sparrow in the bran"), but since Brazilian guitarist Américo Jacomino "Canhoto" (1889–1928) had a work with the same title,
Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Recuerdos de la Alhambra
Recuerdos de la Alhambra (Memories of the Alhambra) is a classical guitar piece composed in 1896 in Granada by Spanish composer and guitarist Francisco Tárrega. It uses the classical guitar tremolo technique often performed by advanced players.
Recuerdos de la Alhambra means Memories of the Alhambra. The Alhambra is a palace and fortress complex in Granada, Spain.

Villancicos de Navidad
John Williams, former student of Andres Segovia, said of Barrios: "As a guitarist/composer, Barrios is the best of the lot, regardless of era. His music is better formed, it's more poetic, it's more everything! And it's more of all those things in a timeless way."

Prelude 28-4
The Prelude Op. 28, No. 4 by Frédéric Chopin is one of the 24 Chopin preludes. By Chopin's request, this piece was played at his own funeral, along with Mozart's Requiem.
Hans von Bülow called the prelude "suffocation", due to its sense of despair. In fact, Chopin's last dynamic marking in the piece is smorzando, which means "dying away". But the prelude may have once been given a title. According to George Sand's daughter Solange, who stayed with the composer at the monastery in Majorca when the preludes were written, "My mother gave a title to each of Chopin’s wonderful Preludes; these titles have been preserved on a score he gave to us." That titled score is lost. But Solange did record the names of the preludes, apparently without assigning the names to the prelude numbers. It is believed that the title "Quelles larmes au fond du cloître humide?" ("What tears [are shed] from the depths of the damp monastery?") corresponds to Prelude No. 4.

Bach Adagio 974
The Oboe Concerto in D minor, S D935, is an early 18th-century concerto for oboe, strings and continuo attributed to the Venetian composer Alessandro Marcello.
The earliest extant manuscript containing Johann Sebastian Bach's solo keyboard arrangement of the concerto, BWV 974, dates from around 1715. As a concerto for oboe, strings and continuo its oldest extant sources date from 1717: that year it was printed in Amsterdam, and a C minor variant of the concerto, S Z799, was written down.
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