Hogwood’s accounts are stylish and well recorded, though not quite so bracing in their effect. Both he and Gardiner have the same soloist in the B minor Suite, Lisa Beznosiuk, today’s leading exponent of the Baroque flute. Hers is an appealingly light and delicate tone, one that gives her an almost ghostlike presence in the tuttis. But she is able to hold her own in the solo passages, despite the difficulty of fingering, and in both accounts her playing is nicely ornamented, not overly affected.

This marvellous set of concertos for one, two and four violins calls for a group of well-matched (not cloned) soloists who can also work together in the chamber-musical manner the music calls for—and in Monica Huggett, Catherine Mackintosh, Elizabeth Wilcock and John Holloway that is precisely what you get here. Every last detail is clearly etched in textures of wonderful clarity, intonation is as nearly perfect as humans are wont to achieve, dynamics (and contrasts thereof) are arrestingly controlled, whilst never sounding forced or unnatural.

In addition to volumes and volumes of church and chamber music, the astonishingly prolific Georg Philipp Telemann wrote a great many concertos–the most engaging of which are those for two or more solo instruments, often in interesting combinations. It must be said that many of these concertos are a bit lightweight, but they are lively and diverting–and Christopher Hogwood and the baroque-instrument specialists of the Academy of Ancient Music give them accomplished, persuasive performances. Among the tasty confections here are a vigorous concerto for three trumpets; a double concerto for recorder and transverse flute–in the 18th-century context, the old-fashioned and the newfangled side by side; and the "Concerto polonois" for string orchestra without soloists, based on rustic dance music Telemann heard in Poland as a young man.

This new set of Bach's most famous concertos does not have to compete with any of the others presently on the market for it is based on sources which predate the fair copy which Bach dedicated to the Margrave of Brandenburg in 1721. It is not the first time that such an enterprise has found its way on to gramophone records and many readers will doubtless remember Thurston Dart's pioneering work, along similar lines of thought, which resulted in recordings issued by Philips during the early 1970s. The differences, both large and small, between Bach's fair copy of the six Brandenburg Concertos and the earlier forms are too numerous to discuss fully in these pages, but they are dealt with in Christopher Hogwood's interesting introductory essay which accompanies the set.

J. S. Bach’s seven harpsichord concertos and the “Triple” concerto BWV 1044 span the total range of Baroque experience: from the tempestuous élan of BWV 1052, through the disquiet and anger of BWV 1056, to the joy and elation of BWV 1055. Richard Egarr and The Academy of Ancient Music, led by Andrew Manze, present these masterpieces in radically fresh, intimate readings charged with dramatic intensity.

When Richard Maunder's editions get together with Christopher Hogwood and co, you know instantly that the result will be spot on. The sound of the boy treble line (singing alto as well) is earthy yet in tune, and well complemented by the strong lower parts. The orchestra is supportive yet unobtrusive. The dynamics and phrasing are all well chosen and executed. The choice of soloists is inspired, especially Arleen Auger - such a beautiful voice. It is just a pity that there is not more on the disc - some have argued in the 'Dona ut Kyrie' tradition that an Agnus Dei could be tacked on at the end using the music of the Kyrie. An excellent recording.

Jan Ladislav Dussek was perhaps Europe's greatest pianist until Beethoven came along, and much of his music involves the piano. He wrote works in many genres, however, including some substantial choral music at the end of his life that, in places, looked forward to Schubert. Consider this Messe Solemnelle in G major, an hourlong work that receives not only its world premiere recording but possibly its first performance in any form; it was discovered by Academy of Ancient Music director Richard Egarr in a Florence library. Physical CD buyers will get a weighty scholarly apparatus, but even online listeners will find an enjoyable work that could easily find its way into the choral repertory.

Following his attractive performance of six of Vivaldi's cello sonatas, Christophe Coin has recorded six of the composer's 24 or so concertos for the instrument. Five of these, Michael Talbot tells us in an interesting accompanying note, probably belong to the 1720s while the sixth, the Concerto in G minor (RV416), is evidently a much earlier work. Coin has chosen, if I may use the expression somewhat out of its usual context, six of the best and plays them with virtuosity and an affecting awareness of their lyrical content. That quality, furthermore, is not confined to slow movements but occurs frequently in solo passages of faster ones, too. It would be difficult to single out any one work among the six for particular praise. My own favourite has long been the happily spirited Concerto in G major (RV413) with which Coin ends his programme. Strongly recommended. (Gramophone Magazine)

In the repertoire on this new disc… Cleobury, King's College, and the AAM prove currently unbeatable. King's College Chapel provides a glorious acoustic, splendidly recorded, bathing the music in resonance but retaining every detail.

A surprising fact from the musicological realm is that Haydn wrote about the same number of operas as Mozart–though it's true that some of them were written for the marionette theater at Esterhaza, rather than the opera house. In other words, old "Gius[eppe] Haydn"–as the title page of this opera refers to him–was a master. Better known to some by its alternate title, L'anima del filosofo, Haydn's Orfeo ed Euridice was written in 1791 for the King's Theater, Haymarket, during the composer's first English sojourn, but went unperformed there or anywhere else until 1950. The libretto, by Carlo Francesco Badini, is based on Ovid's Metamorphoses, with its decidedly unhappy ending to the story (Euridice dies a second time, Orpheus is poisoned, and the Bacchantes perish in a storm).

According to Christopher Hogwood, in his marvelous biography of Handel, "In the winter of that year [1750], Handel received what was for him an unusual commission. Although closely associated with the London theatre, he wrote very little incidental music for plays. A request from John Rich to provide airs and dances for Smollett's 'Alceste' was undertaken, according to Hawkins, in repayment of a debt to Rich."

Led by Christopher Hogwood, the Academy of Ancient Music has made many renowned recordings of Handel's music-particularly the oratorios. The beloved Messiah heads up this 8-CD set, followed by Esther; La Resurezzione , and, making its return to the international catalog after an absence of several years, the 1985 recording of Athalia -with none other than Joan Sutherland in the title role! Recorded in London, 1979-85.