Although the first violin virtuosos came mainly from Cremona, Brescia or Mantua, it was Venice that swiftly emerged as the principal centre for the development of instrumental music. Moreover, it was there that most collections of this music were printed all through the seventeenth century. It is curious to note that all these virtuosos obviously enjoyed sharing their success with their colleagues: for, alongside works for one or two violins and continuo, almost all the composer-violinists gathered together on this disc conceived sonate, canzone or sinfonie for ensembles of three or four violins. In addition, these compositions often make use of bichoral or echo effects.

Italian Baroque Virtuoso Instrumental Music Maurice Steger, Continuo Consort, Naoki Kitaya The recorder (that is, the family of instruments in various sizes and ranges) was perhaps the most popular instrument among amateur musicians during the 17th and 18th centuries, as well as the instrument championed by a select group of renowned virtuosos. Who composed music for this sweet-sounding wind instrument in Italy during this period? Were arrangements from other genres popular at the time? How did the substantial changes in construction, intonation and sonority that the recorder underwent during influence musical style? Recorder virtuoso Maurice Steger and his continuo consort under the direction of Naoki Kitaya provide vivid and beautiful answers to such questions with this, their third recording for Claves Records.

The new recording by recorder player Dorothee Oberlinger with violinist and countertenor Dmitry Sinkovsky shows the musical turn of time from the Renaissance to the Baroque in a kaleidoscope of newly conceived, experimental declamatory music by Italian masters, who for the first time expressed passions such as love and hate, grief and joy, astonishment and longing in music to the fullest.

This disc is a real plucker’s delight featuring not only the skills of three leading mandolinists – Juan Carlos Muñoz, Mari Fe Pavón and Alla Tolkacheva – but also a continuo section consisting of baroque guitar, harpsichord and (anachronistically) Renaissance lute; even the violone and gamba are usually played pizzicato. Together they romp through a programme of concerti and sonatas by Dall’Abaco, Arrigoni, Matteis, Domenico Scarlatti, Johann Sigismund Weiss (rather than his more famous brother Sylvius Leopold), Fasch and of course Vivaldi; with a doffof their tricorns in the direction of earlier baroque composers Castello and Uccellini. This is joyous, glorious music-making.

Some of the connections with Venice may be a little tenuous, and this particular Winged Lion even circles over Spain clutching a Venetian guitar. The Palladian Ensemble's debut disc was called An Excess of Pleasure; the sequal offers nothing less! From two gutsy Vivaldi concertos via the dashing caprice of Santiago de Murcia's La Jota to a canzon by Cavalli which discharges itself in a haunting echo of Monteverdi's Lamento della Ninfa, the programme continually surprises and enchants. The playing too.

After the success ofOfficina Romana(awarded 5 Diapasons, 5 stars inMusica, and selected amongst the best albums inLe Mondein 2021), Le Stagioni, under the direction of Paolo Zanzu, invites the listeneron a journey through 17th-century Venice in the company of outstanding singers:Emmanuelle de Negri, Blandine Staskiewicz, Paul-Antoine Benos-Djian, Zachary Wilder and Salvo Vitale.From 1637 to 1645, between the opening of the firstpublicopera houses and the start ofthe Cretan War, Venicewitnessed a musical blossoming of international significance.

Everybody will know by now that Elizabeth Wallfisch has a special interest, affection and regard for the 17th- and 18th-century Italian violin schools. She has already recorded much music by the likes of Tartini, Corelli, Locatelli and others with her group, The Locatelli Trio, and also with The Raglan Baroque Players under Nicholas Kraemer. Here is a varied and fascinating collection of pieces by some of the lesser-known composers from a generation or two earlier than those composers.

25 years after the revolutionary recording with Il Giardino Armonico, Enrico Onofri presents a new exciting version of Vivaldi's Le quattro Stagioni on PASSACAILLE, in which he has put all his artistic maturity and knowledge into practice. The focus of the recording is not only on Vivaldi. Onofri also wanted to pay tribute to Mother Nature, who has inspired artists of all genres with her sounds, images, smells and wonders. The selected pieces that accompany the Evergreen come from the Italian repertoire of the 17th century.

For fans of Il Giardino Armonico's flamboyant flourishes and exuberant expressiveness, it's like having all your birthdays at once, being presented with this great Warner Classics 11 CD set. My own feeling is that this "free" approach to Baroque music is at its best when applied to the theatrical music of disc 8 or the seventeenth century Italian music on disc 1. The showmanship and playfulness is an absolute joy in many of those pieces. I'm less satisfied with the interpretations of Bach's Brandenburg Concertos, (on discs 10 and 11), which require a different approach, I feel. I like my Bach to be a little more measured and subtle, I suppose. It has no need of the Il Giardino Armonico treatment. On the whole, though, I do love this set and wouldn't be without it.

This release is part of an eight-disc series by the small historical-instrument ensemble London Baroque, covering the entire history of the trio sonata in four countries (Italy, Germany, France, and England) over two centuries (17th and 18th). The series is more aimed at those with a strong interest in Baroque instrumental music than at general listeners, but several of them have been attractive for anyone, and this album falls into that group. It might well have come first in a chronological series, for it includes the very first works that might be called trio sonatas, the Sonata a tre of Giovanni Cima, published in 1610, and the Sonata a tre secuondo tono, from 1621.