The Water Music is divided into three suites which are clearly differentiated by their tonality and instrumentation. The pieces with the lighter, more delicate instrumentation would certainly have been played indoors while the pieces with wind demanded double forces of woodwind and made their fullest effect in the open air. Handel’s other great al fresco work, the Music for the Royal Fireworks, was composed to commemorate the Peace of Aix-la-Chapelle in 1748. Opus 3 is, in its splendid and resourceful way, music of forceful originality and bold contours, and is derived from many varied sources - opera, anthem, Passion, even Corelli.

Hans-Martin Linde and his consort of period instruments emphasize the glories of Bach's marvellous tonal palette, making much of the sonorities afforded by the writing. From beginning to end these are performances which set the blood coursing through one's veins; Linde reckons that if Bach went to the trouble of scoring movements for trumpets, drums, oboes, bassoons and strings, then he probably was aiming at vivid, if not heroic gestures. [N.A. Gramophone+[/quote]

La stravanganza is a set of concertos, op. 4, written by Antonio Vivaldi in 1712-1713. All of the concertos were scored for solo violin, strings, and basso continuo; however, some of the movements in the concertos require extra soloists (like a second violin solo and/or a cello solo). What is perhaps most extraordinary about "La stravaganza" is Vivaldi's remarkable inventiveness within a defined framework of instrumental and harmonic forces.

"Concentus Musicus were the first in the periodinstrument field with these works but time has marched on. The CD version of their set is certainly of clearer sound than the LP but not sufficiently so to convert every dish of contrapuntal soup into consommé, particularly in the outer movements of the Double Concerto. More to the musical point, the mannerisms and small aberrations now sound dated, at a time when most performers differentiate more clearly between Affekt and affectation."
J.D. Grammophone

The Collegium Aureum, a loose association of soloists and conservatory teachers, was founded in 1962 by the Freiburg (Germany) based record company Harmonia Mundi. From the very beginning the ensemble has dedicated itself to the meritorious task of reviving historical performance practices in order to convey an impression of the music’s authentic sound. This “resurrected court orchestra” plays works of the Baroque, the Classical, as well as the Romantic periods on historical instruments.

Lucy van Dael elevates the art of baroque violin to new heights. Her precise intonation, eloquent phrasing and judicious use of vibrato throughout adds new insight to these works.

Leonhardt's performances of Louis Couperin's works have long been particularly admired, and here he does not disappoint. He seems to relish the expressive opportunities afforded by the Prelude and in the lyrical Allemande conveys a precious element of nostalgia hidden within the dance. The first Courante conjures up vivid images of dancers, so physical are his perfectly timed lifts, reminding us that when Louis Couperin was composing, dancing was still very much a live tradition, practised by all courtiers, not just the professionals at the Opera. From the first statement of the concluding Chaconne (as admirable for its craftsmanship and inspiration as Couperin's unmeasured Prelude) the listener is drawn willingly into its inexorable ebb and flow […]
– Gramophone [7/1988]

J. S. Bach's second son, C.P.E. Bach, described the six Sonatas for Violin and Cembalo as "among the best compositions of my dear departed father", and went on to say how well they sounded and what pleasure they still gave him, although written some fifty years before. Over 300 years later these pieces still sound fresh and delightful.

“First, Koopman’s harpsichord dances on its own; then string quartet, flute and bass viol join in the joyfully ingenious canons and fugues on the theme suggested by Frederick the Great of Prussia. The ornamentation is never fussy, while the recording is bright — bottled sunshine, that’s what this CD is.” The Times, 25th April 2009

"The present recording was made in 1984 and 198S, using a Dutch baroque violin and a baroque bow. The location was the village church of Oltingen in the canton of Basel in Switzerland, a space that seemed particularly favourable to the sound and atmosphere of Bach's music."
Jaap Schroder

With this recording, Simon Standage becomes the first period violinist to record the Bach violin concertos twice, having previously done them with The English Concert back in 1983. Then, directed by Pinnock, he gave us startlingly quick outer movements sandwiching indulgently slow middle ones; the newer performances, which are under his own direction, adopt a less extreme approach to tempo, so we can perhaps assume that this is what he would have preferred all along. It is a more conventional view, certainly, but ultimately a more satisfying one.

Les Nations is a collection of chamber works published by François Couperin in 1726. Issued in four separate books, it was intended “for the use of music academies and concerts,” according to its title heading. It contains four extended works that feature movements in the French or the Italian manner, resulting in hybrid pieces that encompass both of the then sharply opposed styles.

This six-CD box set brings together four major concerto sets composed including the most famous Il Cimento dell'Armonia e l'Invenzione awarded pride of place.
The eminently reliable Academy of Ancient Music play their period instruments with consummate zest under their charismatic conductor Christopher Hogwood and these sets date back to the early digital cum late analogue days when the fabled 'L'Oiseau-Lyre' label still produced those lavishly packaged boxes with their distinctive white covers and the wonderful paintings.

Jaap Schröder is among the most versatile of the musicians who have emerged from the historical performance movement, recording music ranging from Baroque to Romantic both as a soloist and as a chamber musician, conducting or leading a variety of top period-instrument ensembles.

Jan Hanford said:
"I have enjoyed Ketil Haugsand's performances previously on recordings of Bach and Rameau and when I heard he had recorded the Goldberg Variations I had to have it. I was not disappointed; it's a vibrant and delightfully personal interpretation that is often thrilling.
A surprise: he uses frequent ornamentation and I enjoyed it. Probably because of his intelligent balance of tempos and phrasing, the ornamentation is not an interruption but a complement to the music, as it should be. His tempos are lively, his phrasing is highly musical and his articulation is captivating. The result is a personal interpretation that separates it from the kind of dry performance of which there are many. It makes you love the Goldbergs all over again, as Ketil Haugsand obviously does.
The harpsichord sound is lovely, with clear treble and rich bass. It sounds as if you are sitting next to him while he plays; very enjoyable!
This is a highly recommended cd of a standout performance."