Clas Pehrsson, recorder, studied both music teaching and musicology and was active as a violinist and violist before deciding in the mid-1960s to dedicate most of his time to the recorder. His extensive international career as a soloist and chamber musician has included collaboration with the Drottningholm Baroque Ensemble in many countries in Europe and Asia as well as in the USA and Australia.

If listeners had to commit to a single version of Vivaldi's Four Seasons for the rest of their lives, this 1984 BIS recording would be thoroughly satisfying choice. Superbly played, brilliantly recorded period instrument performances of this perennial masterpiece are all but a dime a dozen, and the differences between Hogwood's and Pinnock's and Harnoncourt's readings don't begin to make up for the fatal boredom of their performances. This version with Nils-Erik Sparf and the Drottningholm Court Baroque Ensemble would be an ideal choice because theirs is the freshest performance of the piece. Beyond their excellent technique and impeccable sense of style, Sparf and the Swedish musicians bring joy and enthusiasm to the music, and sound like they are in turn receiving happiness and energy from the music. There's real pleasure here, and real affection, as if the concertos were newly composed and these were their world premieres. Filled out with witty accounts of Vivaldi's F major Concerto for Bassoon and his G minor Concerto for Flute and Bassoon, this disc is a delight.

The Overture seems to have been Telemann's favourite compositional form. His Overtures outnumber the solo concertos by far. These Overtures - or Suites - show a great variety, as this CD amply demonstrates. It starts with one of Telemann's most popular works, the 'burlesque' Don Quixotte and also contains two Overtures with a solo instrument. In some of his Overtures Telemann abondons the traditional dances and replaces them by character pieces, which indicates French influence.

Vivaldi wrote very little for the lute, guitar, or mandolin–all of which can be used to play this music. In fact the two concertos have become very popular among guitarists, who are always looking for something interesting to play that doesn't require too much effort to transcribe from another medium. The music itself, curiously, is among the composer's most popular. These particular performances have a very special beauty, partly the result of superb performances by all concerned, and partly due to the positively luminous recording quality. It's so pretty as pure sound, it's almost hypnotic. Those interested in this tiny but popular Vivaldian niche need look no farther.

Es ist schwer auszumachen, wer bei dieser Aufnahme mehr aufhorchen läßt, der Komponist oder sein Interpret.​ Mit einer verblüffenden Virtuosität, die weit mehr umfaßt als nur Klangbrillanz und wieselflinke Geläufigkeit, führt Dan Laurin einen Vivaldi vor, in dessen Ideenreichtum sich ungeahnte Tiefen auftun.​ Wie selten zuvor entfaltet sich hier das expressive Potential scheinbar harmloser Harmonien, und die Gestaltung der auf den ersten Blick einfachen Melodien wird zum leidenschaftlichen Wettstreit der vier Temperamente.​ Dabei schöpft der russisch-schwedische Blockflötist aus einem schier unendlichen Vorrat an Artikulationsnuancen, der es ihm ermöglicht, auf seinem Instrument so ziemlich alles darzustellen.​

In the 18th century, Leufsta Bruk – some 140 kilometres northwest of Stockholm – was the centre of a major industry producing iron both for Swedish needs and for export. It was a little principality in the middle of the forest governed by the descendants of Louis De Geer, the Belgian financier who had developed the ironworks. Highly cultured and musical, the family gathered together a remarkable collection of musical scores, a collection which mirrors the development of music and music publishing on the Continent, as well as the musical activities at a flourishing Swedish manor of the period.

Kraus' last and greatest works, the Symphonie funebre and Funeral Cantata for Gustav III, are fully able to stand with the best works in the forms of the period, as great as the late symphonies of Haydn and Mozart and, yes, even as great as the Requiem of Mozart. Written under the overwhelming personal and national tragedy of the assassination of the King of Sweden then at the peak of its cultural and national greatness, Kraus' funeral music is numb with shock and wild with grief, but always completely controlled, masterfully balanced, and profoundly moving. If there are only two works you ever listen to by Kraus, let them be these two works.