This attractive mixed programme of Telemann’s works featuring flute or recorder has been designed by Ashley Solomon to celebrate Florilegium’s 25th anniversary. The triple concerto for flute, oboe d’amore and viola d’amore in E major stands out as one of the composer’s most beguiling masterpieces: the limpid opening Andante sounds like a serene evocation of sunrise that anticipates the mature Haydn by several decades; the soloists Solomon, Alexandra Bellamy and Bojan Čičić play with elegant finesse, and also conjure up refined melancholy in an intimately conversational Siciliana. The double concerto for recorder and viola da gamba in A minor is a charming example of Telemann’s taste for synthesising French and Italian musical styles with elements of Polish folk music; Florilegium’s civilised elegance in the French-style Grave, gently Italianate sway in the Allegro, and Solomon’s duet with gambist Reiko Ichise in the Dolce has pastoral sensitivity. At the heart of the programme is Ihr Völker hört, a cantata for solo voice and obbligato instrument that was published in the first instalment of the series Harmonischer Gottes-Dienst. Clare Wilkinson’s softly convivial and articulate singing communicates the cheerful Epiphany text.

Florilegium’s latest release contains the complete instrumental trio sonatas of Bach. But if you discount the six-part Ricercar from the Musical Offering itself, which of course is not a trio, but which nonetheless is included here, only two of the remaining items are indisputably products of Bach’s pen. The Trio in G (BWV 1038) may be by Bach, who certainly provided its bass line; but the likelihood is that it was the work of one or other of his two elder sons or perhaps one of Bach’s Leipzig pupils. The Trio in C (BWV 1037), on the other hand, is certainly not by Bach, but by his gifted pupil, Goldberg.

While the music offered in this recording spans only thirty-two years, it best exemplifies the development of French musical style and taste in the eighteenth century. By the middle of the century the unification of both the Italian and French styles of music composition termed by Franois Couperin as les gots-runis had been realised. This disc of chamber music modestly charts the journey through this change from Montclair and Morel through Leclair and Naudot to Rameau.

During the past decade or so, interest in Baroque music composed and/or performed in South American cities–particularly the cathedrals–has inspired a number of recordings. This one focuses on European-style 18th-century vocal and instrumental music from the Jesuit "Reducciones", or "settlements" in Bolivia. Not only was there a regular flow of music and musicians (and musical instruments) to South America from Europe during the 17th and 18th centuries, but over time native-born composers trained in church-run schools began contribute their own works to what became an enormous body of instrumental and vocal repertoire.