Playing a brilliant modern trumpet, Alison Balsom engages in an adventurous and thrilling dialogue with an ensemble of period instruments as she performs six virtuoso concertos of the baroque era, originally composed for violin or oboe by Handel, Vivaldi, Telemann, Albinoni and Marcello. She collaborates with Director Trevor Pinnock – the musician who originally inspired her discovery of baroque music as a child – and a specially assembled instrumental group, Pinnock’s Players. Seeing this pioneering album as “a delicious colliding of the two worlds” – baroque and modern – Alison Balsom explores the possibilities of the piccolo trumpet while savouring the sonorities of period instruments and their “compelling authenticity and ability to reveal the composer's intentions”.

The famous oboist Heinz Holliger and the legendary musical ensemble recorded for the posterity one of the most pyramidal musical documents in the second half of the past Century. There's no any flaw. Every single bar is perfect. Holliger dominates not only the variegated tonal possibilities of the instrument, but he gives to each score the expected degree of expressiveness and feverish lyricism.

The brothers Marcello, Alessandro and the more famous Benedetto, were born into an illustrious patrician family in Venice in 1684 and 1686 respectively. The eldest, with his eclectic talent, proved to be attracted to both the arts and the sciences from an early age; the youngest, better known as the “prince of sacred music”, was about to study the violin very young. According to legend, still children, Alessandro mocked him for his lack of talent in front of the princess of Brunswick, which made him swear to devote himself to musical studies in a zealous manner.

They consider themselves the oldest tribe of ancient Greece. Their territory is a place from the eternal Golden Age, where peaceful shepherds, unhindered by hard work, can pursue their pleasures and passions. A blissful, perfect country life: Arcadia, the ideal place for ancient mythology, for nymphs and shepherds, heroes and gods. It needn’t worry us that Arcadia was transported from its original location in the heart of the Peloponnese to Sicily in classical Latin literature.

This 25CD set presents the most famous, iconic and best-loved works from the Baroque Era, works which are part of our common musical heritage and conscience, eternally young and cherished for their charm, beauty and deeply human emotions, shared by audiences all over the world.

This disc is an invitation to explore one of the great attractions of Venice in the Baroque era, the famous ospedali. Among the inmates of the Pietà was a girl named ‘Pellegrina’, for whom Vivaldi wrote many of his oboe concertos. With her Berlin colleagues, Xenia Löffler breathes new life into these concerti soli, concerti ripieni and sinfonie by the ‘Red-haired Priest’ – but also by his emulators, among them a composer of today, no less fervent in his admiration: Uri Rom.

Die Blockflötistin und ECHO Klassik-Preisträgerin Dorothee Oberlinger ist mittlerweile weit über die Alte Musik- und die Klassik-Szene hinaus bekannt. Erst Ende vorigen Jahres widmete die Vogue ihr einen Artikel und in der Talkshow »3nach9« begeisterte sie die Zuschauer, auch durch ihr Duett mit Klaus Doldinger. Auf ihrer neuen CD »Flauto Veneziano« widmet sich Dorothee Oberlinger ganz der Flötenkunst Venedigs von der Renaissance bis zum Spätbarock. Die Blockflöte, im Italienischen bis zum Anfang des 18. Jahrhunderts schlicht »flauto«, war in Venedig bis zur Mitte des 18. Jahrhunderts ein sehr beliebtes und verbreitetes Instrument.

Brigitte - Klassik zum Genießen: Die neue Serie mit einfach schöner Musik, ausgewählt von der Musikredaktion der Brigitte und Sony Classical.
Dorothee Oberlinger hat längst bewiesen, welch abwechslungsreiches und virtuoses Instrument die Blockflöte ist. Für ihre herausragende Musikalität wurde sie 2008 mit dem Echo Klassik als Instrumentalistin des Jahres ausgezeichnet. Sowohl Fachpresse als auch Musikliebhaber überschlagen sich mit Lob. »Barocke Freuden! Welch' Klangwelle rollt auf uns zu, wenn man die Flötentöne von Dorothee Oberlinger hört«, schreibt Spiegel Online.

il Gardellino is a Flemish instrumental ensemble for Baroque music, founded in 1988 on an initiative of the Dutch oboist Marcel Ponseele (NL) and flutist Jan De Winne. The name was derived from a piece by Vivaldi for transverse flute, oboe, violin, bassoon and continuo Il Gardellino, which is in Flemish the name of the songbird distelvink. The ensemble plays on period instruments in historically informed performance. Works by Johann Sebastian Bach are a focus, but also by his contemporaries Johann Friedrich Fasch, Carl Heinrich Graun, Handel, Johann Gottlieb Janitsch, Telemann and Vivaldi.

During the summer of 1989, oboists Alfredo Bernardini and Paolo Grazzi together with bassoonist Alberto Grazzi founded Zefiro, a versatile ensemble specialized in 18th century music predominantly featuring wind instruments. Zefiro soon made a name for itself worldwide, and to celebrate its thirty years of activity Arcana is releasing an elegant 10-CD set of their complete recordings of baroque music. From the ensemble’s first disc (Sonatas by Zelenka - Grand Prix du Disque), the compilation alternates recordings of repertoire composers and pieces that have become absolute points of reference, such as the Vivaldi Bassoon Concertos, Handel’s Fireworks (Diapason d’or de l’année 2009) or the Bach Overtures (judged by Gramaphone to be one of the 50 best Bach recordings of all time).

There are many other highly recommendable recordings by Collegium Musicum 90 under Simon Standage on the Chandos early music label, Chaconne. If you’ve heard a reasonable cross-section of the music of Vivaldi and would like to experiment with some of his near-contemporaries, their recording of Alessandro Marcello’s six Violin Concertos, Op.6, known as ‘La Cetra’, together with an extra Concerto in B-flat, would be a good place to start.

Trumpeter Tine Thing Helseth's album of Magical Memories was recorded during the coronavirus pandemic and intended as a positive statement, suggesting childhood memories that bring strength at a difficult time. The memories are Helseth's own; she heard her mother play the trumpet with an organist in church and loved the combination. It's a simple and direct concept, but it conceals several challenges that Helseth has successfully surmounted on this lovely release. First of all, in Helseth's own words, "There is nothing as difficult to play as a really simple melody – a simple, unadorned, honest melody coming from within. It's magic!" She offers traditional Norwegian folk melodies and classical favorites, and she's right; to make these more than ordinary is difficult, but she pulls it off with really charismatic performances of the likes of "Solveig's Lullaby" from Grieg's Peer Gynt.

Denmark's Michala Petri has continued to dominate the modest but persistent recorder "scene" despite the emergence of a host of younger recorder players from the ranks of Dutch-trained historical-instrument specialists. Collecting a group of her 1970s and 1980s recordings, as has been done here, is an eminently justifiable enterprise, for it was these recordings whose laserlike intonation, whip-smart ornamentation, and all-around attractiveness that caught the attention of listeners in the first place. Petri uncovered and recorded a good deal of Baroque repertory for the instruments, recording it with the likes of England's Academy of St. Martin-in-the-Fields.