Telemann is said to have transformed traditional trio sonatas as composed and performed in Germany from esoteric music for virtuoso players into a considerably more popular form. I am not sure what "popular" means, but what we have here is music of the highest order, performed by a group of accomplished musicians. Admittedly, the sound of period instruments is not always to everyone's taste (including, at times, mine), but here they work well with the material and the result is on the musical mark.

With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today's most sought after and versatile musicians - violin and viola soloist, conductor, and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums.

Within the first few seconds of the first track–the Sonata No. 1 in G major–most listeners will find themselves in surprisingly familiar territory–surprising because this little-known 18th-century composer seems to have written a popular tune long attributed to Pergolesi, a misattribution given additional false credibility by its use in Stravinsky's Pulcinella. In fact Stravinsky used selections from several of Domenico Gallo's trio sonatas in his famous ballet music, thinking them to be works of Pergolesi because they were published under his name in late-19th century English editions.

Discovered by Michael Talbot in 1973, the 12 sonatas of the Manchester manuscript are generally considered the high point of the composer’s chamber music. They are performed here by Fabio Biondi, one of the most authoritative Vivaldi performers, accompanied by an allstar continuo group: Rinaldo Alessandrini, Rolf Lislevand, Paolo Pandolfo and Maurizio Naddeo.

This two-CD set is actually part of an ambitious undertaking: ESS.A.Y Recordings recorded these sonatas in two different versions, this one featuring Ms. Tenenbaum on a modern violin and accompanied by a modern piano played by Richard Kapp; the other recording (reviewed below) features Ms. Tenenbaum playing an older violin and accompanied by a harpsichord played by Gerald Ranck.

When one speaks of a man full of fire, genius and life, one has to think of Monsieur Guillemain, Musician to the King; he is perhaps the most extraordinary and adroit violinist one can hear play. There are no difficulties that can stump him and he can compose learned pieces which sometimes embarrass his rivals. Among the great Masters, this celebrated artist is one of the most productive. His works are full of touching beauty.

This recording of chamber works by Ravel performed by Renaud and Gautier Capuçon and Frank Braley may not be the most electrifying, but it has a richness of feeling and movement that draws the listener along for a thoroughly enjoyable ride. The opening of the Piano Trio is delicately ethereal and atmospheric, but then it builds to grand heights. The second movement sways and flows in continuous waves, and the third arcs in a way similar to the first movement.

Nathan Milstein once described Sergei Prokofievs first violin concerto as: indeed one of the best modern violin concertos a brilliant piece, perhaps the finest of all Prokofievs works, while the second concerto was taken up by violinists such as David Oistrakh and Jascha Heifetz. Here the two works are interpreted by the Ukrainian-born Vadim Gluzman, who as many critics have remarked is firmly based in the glorious tradition of these and other virtuosos of the 19th and 20th centuries.

Viktoria Mullova and Ottavio Dantone turn in smashing performances of Bach's six sonatas for violin and harpsichord, plus two additional items: a transcription of Trio Sonata No. 5 (for organ/clavichord) and the Sonata in G for Violin and Continuo BWV 1021. Bach's violin sonatas use the "church sonata" form; that is, they usually have opening slow movements and no quick movements modeled on dance forms. They are also unique in that they are in fact true duets between the right hand of the keyboard player and the violin, rather than solo works in which the violin sings while the harpsichord accompanies with the continuo part.

Beethoven's "Hammerklavier" sonata is a formidable challenge for any pianist. Making his Deutsche Grammophon debut, "stunningly gifted" (Gramophone) Nobuyuki Tsujii - no stranger to challenges - has chosen this technically and intellectually demanding work, which brought him victory in the prestigious Van Cliburn Competition. Nobu, as he is lovingly known, feels a personal affinity for Beethoven and here also savors the composer's intimate, lyrical side in Liszt's affectionate transcription of the song cycle, An die ferne Geliebte.

The ensemble Musica Antiqua Roma specializes in the vast and partly forgotten repertoire of the music by Roman composers from the 17th and 18th centuries. Here they turn their attention to Corelli and his contemporaries, including Sonatas by Corelli himself Carbonelli, Mossi, Viconti, Castrucci, Locatelli and Montanari. Many of the works here are world premiere recordings.

Philipp Scharwenka (1847-1917) gets short shrift next to his more successful brother, Xaver. The two had very dissimilar styles. Philipp, a professor at various conservatories (Otto Klemperer was his pupil) was austere and embraced academic German Romanticism, while Xaver preferred the extroverted salon idiom of Chopin and Liszt. In the opinion of the critic Hugo Leichtentritt “Philipp Scharwenka is an absolute master of composition. His violin and cello sonatas, his string quartets, piano trios and piano quintet belong to the most perfect and tonally beautiful works of their type."

The critical reception of Schumann's violin sonatas, like that of much of the composer's late output, has vacillated over the course of the intervening centuries. Written for and first performed by some of the leading violinists of the day, all three are now recognized for the masterpieces they undoubtedly are, needing no apology: and we are fortunate indeed to be in a position to enjoy such dedicated performances as these.

James Ehnes picks up the viola for his first recording of the two Brahms sonatas Op.120 of 1894, in the composer's arrangement for viola and piano. Originally written for clarinettist Richard Mühlfeld, Brahms made subtle changes for the viola versions, and in so doing he greatly enriched the meagre viola sonata repertoire with these two late masterpieces. Schumann composed his Märchenbilder (Fairy Tale Pictures) in a few days in March 1851. They are imbued with a potent sense of fantasy - imagination runs riot, from melancholy to drama. James Ehnes plays on the 1696 'Achinto' Stradivari viola for this recording, courtesy of the Royal Academy of Music.

An original and highly enjoyable program of works for bassoon and piano by romantic composers: the bassoon sonata Op. 9 by Gustav Schreck (1849- 1918), the bassoon sonata by Anton Reicha (1770-1836), the Grande Sonate by Ignaz Moscheles (1794-1870) and the brilliant Introduction & Polonaise by Jules Demersseman (1833-1866). Strongly melodious music of great beauty, a valuable homage to that neglected but highly expressive and versatile wind instrument, the bassoon!