Concerto for Flute and Oboe in B Minor, FaWV L:h1: I. Allegro by Lisa Beznosiuk
Concerto for Flute and Oboe in B Minor, FaWV L:h1: II. Largo by Lisa Beznosiuk
Concerto for Flute and Oboe in B Minor, FaWV L:h1: III. Allegro by Lisa Beznosiuk
Concerto for 2 Violins and Bassoon in D Major, TWV 53:D4: I. Andante by Monica Huggett
Concerto for 2 Violins and Bassoon in D Major, TWV 53:D4: II. (Allegro) by Monica Huggett
Concerto for 2 Violins and Bassoon in D Major, TWV 53:D4: III. Adagio by Monica Huggett
Concerto for 2 Violins and Bassoon in D Major, TWV 53:D4: IV. Allegro assai by Monica Huggett
Concerto for Oboe in G Minor, S. 237: I. Allegro by Andreas Helm
Concerto for Oboe in G Minor, S. 237: II. Largo. Pizzicato by Andreas Helm
Concerto for Oboe in G Minor, S. 237: III. Vivace by Andreas Helm
Concerto for 2 Cellos in G Minor, RV 531: I. Allegro by Sarah McMahon
Concerto for 2 Cellos in G Minor, RV 531: II. Largo by Sarah McMahon
Concerto for 2 Cellos in G Minor, RV 531: III. Allegro by Sarah McMahon
Concerto for 2 Oboes da caccia, 2 Violas, 2 Bassoons and Continuo in G Major, FaWV L:G11: I. Un poco allegro by Andreas Helm
Concerto for 2 Oboes da caccia, 2 Violas, 2 Bassoons and Continuo in G Major, FaWV L:G11: II. (Andante) by Andreas Helm
Concerto for 2 Oboes da caccia, 2 Violas, 2 Bassoons and Continuo in G Major, FaWV L:G11: III. Allegro by Andreas Helm
Concerto for 2 Oboes da caccia, 2 Violas, 2 Bassoons and Continuo in G Major, FaWV L:G11: IV. Menuets I & II by Andreas Helm
Concerto for Bassoon in C Major, GWV 301: I. Vivace by Peter Whelan
Concerto for Bassoon in C Major, GWV 301: II. Largo e giusto by Peter Whelan
Concerto for Bassoon in C Major, GWV 301: III. Allegro by Peter Whelan
Concerto for Flute d'amore, Oboe d'amore and Viola d'amore in G Major, GWV 333: I. (Largo) by Lisa Beznosiuk
Concerto for Flute d'amore, Oboe d'amore and Viola d'amore in G Major, GWV 333: II. Allegro by Lisa Beznosiuk
Concerto for Flute d'amore, Oboe d'amore and Viola d'amore in G Major, GWV 333: III. (Adagio) by Lisa Beznosiuk
Concerto for Flute d'amore, Oboe d'amore and Viola d'a
Innovative instrumentation, unusual repertoire and an ensemble with a profound knowledge of historical performance practice makes this Irish Baroque Orchestra Linn debut unmissable. This programme of 18th century concertos... more » is an attractive listening tour through the German courts, revealing unknown jewels. The soloists, including Lisa Beznosiuk (OAE), Andreas Helm (Concentus Musicus Wien), Monica Huggett (Sonnerie) and Peter Whelan (Ensemble Marsyas) relish the opportunity to show off their skills. Alongside the double cello concerto by Vivaldi and Telemann's concerto for two violins and bassoon sit the lesser known, but equally brilliant, concertos by Graupner, Heinichen and Fasch. One of the most beautiful combinations is the Graupner Triple Concerto for oboe d'amore, viola d'amore and flute d'amore, which produces an exquisite blend of other-worldly colours. Wonderfully kaleidoscopic colours also pervade the concertos by Heinichen and Fasch, the latter proving just why Telemann and Bach held him in such high esteem.« less
Innovative instrumentation, unusual repertoire and an ensemble with a profound knowledge of historical performance practice makes this Irish Baroque Orchestra Linn debut unmissable. This programme of 18th century concertos is an attractive listening tour through the German courts, revealing unknown jewels. The soloists, including Lisa Beznosiuk (OAE), Andreas Helm (Concentus Musicus Wien), Monica Huggett (Sonnerie) and Peter Whelan (Ensemble Marsyas) relish the opportunity to show off their skills. Alongside the double cello concerto by Vivaldi and Telemann's concerto for two violins and bassoon sit the lesser known, but equally brilliant, concertos by Graupner, Heinichen and Fasch. One of the most beautiful combinations is the Graupner Triple Concerto for oboe d'amore, viola d'amore and flute d'amore, which produces an exquisite blend of other-worldly colours. Wonderfully kaleidoscopic colours also pervade the concertos by Heinichen and Fasch, the latter proving just why Telemann and Bach held him in such high esteem.