This is not such a bizarre cross-over as one might imagine for in the 18th century the great Irish musician Turlough O’Carolan, a blind harpist, met the Italian musician Geminiani in Dublin, and through him encountered the music of, yes, guess who, Antonio Vivaldi. So here we have a case of substituting Irish instruments for baroque ones, using baroque instruments to accompany Irish themes, by creating dialogues between Celtic and baroque instruments, or by letting all the musicians improvise. One moment we appear to be listening to a ‘straight’ baroque concerto, then all of a sudden the conventional string continuo/ripieno of the baroque ensemble (Le Orfanelle della Pieta) gives way to celtic musicians playing a jig or reel on anything from a Irish bouzouki to a fiddle. The baroque group consists of three each of first and second violins, one viola, two cellos, a bass and harpsichord while the Irish musicians play Irish fiddle, an Irish flute (like a baroque flute), tin and low whistles, Uileann pipes, Irish bouzouki, mandolins, bodhran, bones, and the Celtic harp (played here with metal strings to resemble its harpsichord counterpart in the other group).

Lisa Lynne is one of the top new age artists on the planet. It would be very difficult to recognize a more accomplished new age harpist. She combines traditional and ethnic instruments to allow subtle tribal overtones into her soundscapes. Her expert arrangements create lush and melodic atmospheres. Seasons of the Soul is perfect music for contemplating the self and for communing with God. Lynne's sensitivities for the subtleties of humanism are vivid and real. The sensuality of her sound design is smooth and warm. This environmental ambience is best when shared with a lover. This CD will appeal to all fans of good music. Comparisons to Hans Christian, Enya, Loreena McKennitt, and David Darling are valid. This is one of Lynne's better efforts. It is essential for all new age collectors.