…The King's Consort under the direction of Robert King perform the Overture-Suites from the Second and Third Productions of Telemann's anthology…I find the new issue delightful, both musically and from a performance standpoint. The players capture the spirit of the Overture-Suite in D major (Second Production) with pleasing tempos, crisp articulation, taut rhythms and fine ensemble. The trumpet has an important role in this Suite and here it is played with finesse by Crispian Steele-Perkins—resonant, authoritative but never overbearing. Oboes are kept busy, too, as indeed is the leader, Roy Goodman who gives a lively account of the several concertante passages for violin. His presence has contributed much to the ultimate success of this project.

Italian Baroque composer Alessandro Stradella (1639-1682) is known for his dramatic life, whose watchwords were sex and violence; he was stabbed to death, right under the nose of his bodyguard, by assassins sent out by the husband of a nobleman whose wife he had seduced. His music is just beginning to enter general circulation, and it's as exciting as one might imagine, with plenty of vocal acrobatics to challenge even the best singers. The "serenade" featured on this Italian release, Vola, vola in altri petti (Fly, fly to other hearts), is a work for four singers, about 40 minutes long; it contains recitatives and arias, along with an opening instrumental sinfonia and a dance interlude.

The first album of the trilogy devoted to Ramon Llull includes a selection of pieces that represents some of the most important genres of the time of Ramon Llull, as well as some of the most representative authors. It offers a musical journey that accompanies the first development stages of Lull’s life, since the moment that begins his radical change to the intellectual illumination, which is attributed to a divine origin-, and that will lead him to Ars. “Conversion, study and contemplation“ illustrates Ramon Llull ‘s youth devoted to sensual pleasures, love and the cultivation of troubadour lyric poetry, from the perspective of a person who left world vanities.

Matthias Bamert’s survey of music by Mozart’s contemporaries continues with this elegant programme of Cannabich Symphonies. Harmonically conservative, lavishly scored, and full of the mannerist crescendi and rising figures the Mannheim Orchestra was famous for, these are fascinating examples of the style gallant. Though Cannabich had found his way to sonata form in the G major symphony, something of Telemann’s programmatic writing hangs over the Symphony in A major, while baroque affects are yet more keenly felt in the D major Symphony. The London Mozart Players’ pristine sound and careful phrasing is highly enjoyable throughout.

Italian violinists invaded germanic countries from the beginning of the 17th century, with Farina in Dresden, Marini in Neuburg and Bertali in Vienna. Their influence was considerable, stretching over the entire Empire to the furthest flung towns of Central or Northern Germany. The Italian sonata went hand in hand with the violin, exemplifying a taste for the fantastic and the baroque. Michal Praetorius, despite his knowledge of Italian musical practice, preferred to discuss the instrument under its German name of "Geige", although the term of "violino" soon began to appear in every musical publication In this eagerly awaited, special prized re-release of his remarkable anthology of early violin music, François Fernandez gives a us a masterly and higly seductive lesson of style.

This simple celebratory cantata made Stradella a well-known theatrical personality. As opposed to using traditional recitative, Stradella incorporates string interludes interrupting the characters, which allowed them to express emotions during facial expressions and movement, a novelty during the Baroque era. The Concerto Madrigalesco performs these works extraordinarily with historical performance practices.

Riccardo Muti takes time out here to present some of the lesser known, rarely heard orchestral scores of his fellow countrymen, and a superbly played, enjoyable concert it is too. Proceedings commence with a fine and spirited performance of Alfredo Casella's divertimento Paganiniana—not a great piece by any means but a work possessing plenty of charm and humour nevertheless; the outer movements are a bit of a romp (very opera buffa) and must have been as much fun to write as they clearly are for the La Scala Philharmonic to play.

Nobody knows why Johann Sebastian Bach composed his six suites for solo cello. Nor does anybody know how it came about that the suites were soon afterwards consigned to oblivion and more than a century before a 13-year-old Spanish musical prodigy discovered a worn copy of the score in a second-hand bookstore store in Barcelona. For the next 11 years Pablo Casals practiced them every day. Finally, in 1936, he entered London’s Abbey Road studios to record the second and third suites for the first time. The rest, as they say, is history. Today, Bach’s cello suites have become a rite of passage for all aspiring cellists.