Sublime Re-interpretation: my personal favorite when it comes to great baroque classics
595823
this album is stellar.

the baroque period purists will point you towards other more period-accurate ensembles, and while many of them are great... after your hear Munchinger, they seem too minimalist.

Munchinger prolly uses a far bigger ensemble than many of the compositions were intended for, but in my opinion, he delivers on the original vision of the composer brilliantly.

Pachelbel, for instance... my thought there is that he intended for the audience to adjust their breathing to the cadence of the arrangement. Munchinger's is my favorite, ever. people will cry to this because it is so over-powering and beautiful. he uses the *power* of the additional strings perfectly. start with the different pieces and them powerfully synchronize them into something you can't resist but adjust your biorhythm to :)

i have many recordings of the Canon. i love several of the "contemporary" interpretations, but this remains my favorite. and that is even though it is not a perfect recording - through a great system it will give you great staging, but there is analog hiss and slight "congestion". but it is so good you just listen to the performance.

the same goes for all the others, pick your favorite.

Munchinger basically recomposed these pieces with mastery for more punch with a bigger ensemble, and he did it masterfully.

as much as i like Sir Trevor Pinnock, hey, this is my reference for pretty much every piece.
2292066
There are many recordings of Bach works for oboe soloist on both modern and baroque oboe, and this one likely won't be easy to get hold of.  Too bad, because it is such a fine recording, so enjoyable to listen to, and in my opinion is one of the best from the Bach Ensemble and its director, Joshua Rifkin.  Dr. Rifkin's liner notes present the scholarly case for combining movements from Bach's cantatas to make oboe concertos, and they are clear, informative, and interesting.  What really shines here though is the oboe playing by Stephen Hammer.  It is flawless, beautifully phrased playing that has joy and confidence built in--so attractive to listen to again and again.  I came to find this CD because I was looking for recordings on which Hammer plays, because I think very highly of his playing.  This one provides an opportunity to hear him play the oboe d'amore too, which is a lower-pitched and lovely oboe that is called for in one of the three concertos on this disc. Listeners who appreciate baroque oboe playing will marvel at Hammer's ability to manage Bach's very long phrases in certain movements.  Bach scarcely gave his players any point at which to breathe.  Playing some of the solo parts here is like running a mile while holding your breath, but Hammer is a marvel.  He manages it so beautifully. This disc is highly recommended for listening pleasure if you can get hold of it.
1255583
This recording is part of a broader historical release and at that time it was breaking grounds in ways of performing World's greatest composer, J.S. Bach. Concertus Musicus Wien was among the first orchestras to perform (successfully) with original baroque instruments or reconstructions of those. The following review will discuss all of TELDEC's violin concerti 1041-1043 and reconstructed 1052, 1055, 1056, 1060 and 1064, not only the selection provided by this disk.
BWV1041-1043
However, especially in the violin concertos 1041-1043, influences of old school interpretation are annoyingly apparent. Tempi are too slow and Alice Harnoncourt is less than an extraordinary violonist. Another impediment was Harnoncourt's obsession for syncopated playing (staccato), based on his correct (or not) assumptions about Baroque music. However, I preffer Harnoncourt's reading to much of the modern lightning-speed recordings of HIP school (eg. Manze/Podger).
BWV1052 (violin)
Harpsichord Concerto in D Minor BWV 1052 was originally written for violin and then transcribed by Bach for harpsichord. Unfortunately, the violin original text has not survived to present times but it has nevertheless triggered scholar's interest on how it might sounded like. Harnoncourt's reading is one of the handful, be that historically informed or uninformed performance. The playing is impecable. Alice Harnoncourt gives here the interpretation of hers lifetime. Sound is crisp, never too slow or too rapid. Orchestral support is outstanding. Five stars with no doubts in mind.
BWV1055 (oboe)
Although not included into this collection, i will rate it because it's a reconstructed concerto as well. Another outstanding interpretation for this harpsichord piece, performed on oboe, by Jurg Schaefterlin. Same scarcity of similar recordings to compare with. Five stars again with no doubts in mind.
BWV 1056 (violin)
This is the shame of the Harnoncourt's rather impressive approach on Bach. Not only orchestra sounds bland, absurdly brass-band syncopated, with uncontrolled tempi, but Alice Harnoncourt is very far here from making us believe she was elected to perform for a reason other than she was the wife of the conductor. Menuhin is better, Perlman is better, Biondi is better, although their approach is rather romantic than baroque.
BWV1060 (oboe & violin)
There are two competing reconstructions of BWV 1060: for two violins (which I preffer) and for oboe & violin (which conductors seem to take as the most accurate). There are very few recordings to compare Harnoncourt's reading with, but his performance is bland and boring, similar to his violin concerti. I heard Pinnock's and should I remind you how MUCH better that is?
BWV1064 (three violins)
An interpretation of Hogwood/Academy of Ancient Music. Very good but as far as I know there is no other historically informed performance of this piece to compare it with. Nevertheless, an outstanding reading. The basso continuo, as in all other reconstructed concerti is in part provided by Gustav Leonhardt himself.
1470647
I cherish these two disks.  The performance of this music by the Brandenburg Consort led by Roy Goodman is simply wonderful.  The playing is full of energy, ease, and a wonderful, well, self-belief and commitment to the music.  None of the, "Well, this is just Corelli after all" we get from some others.  Here, everything is given over to getting everything out of the music, and there is a lot of fun, enjoyment, and beauty to be had.

By the time Corelli died at sixty years of age in Rome, he had achieved world wide fame and respect.  He had a tremendous impact on the development of violin technique including the playing of double stops and chords as well as they way violinists used the bow in their playing.  While the concerto grosso form existed before him, it was he who put the form on the map, so to speak.  His concerti were widely imitated (although the Opus 6 here was not printed in his lifetime - remember there were no meaningful copyrights in those days) and next generation composers such as Handel wrote sets of concerti in homage and imitation (for Handel, these were his Opus 3 concerti).

Corelli's complete known works comprise only six opus numbers, although these are all collections of works.  Again, his influence and importance go far beyond this seemingly small output.  However, these twelve concerti and simply wonderful.  Some of the tunes you will already know, but you will be amply rewarded for your attention to all these works.

The first eight do not contain dance movements because they are ostensibly for the chapel.  However, they are quite bright and energetic and full of movement.  Nine through twelve do contain standard dance suite movements, but for all intents and purposes are not any more full of dance than the first eight.  However, they do follow more strictly the formal strictures of the dance names given to the movements.

What a wonderful set that I am delighted remains in print.

I recommend this set with my strongest recommendation and encourage you to enjoy these disks over and over again.
3832639
Five BAROQUE Stars! Grammy-nominated cello virtuoso Sol Gabetta has ascended to the front rank of cellists in the classical music world with awards, high profile appearances around the globe, and record sales. This recording presents the 3rd installment of her impressive "<a data-hook="product-link-linked" class="a-link-normal" href="/Il-Progetto-Vivaldi/dp/B000UTOVGA/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Il Progetto Vivaldi</a>" (The Vivaldi Project) and the followup&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Il-Progetto-Vivaldi-2/dp/B005BK95XC/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Il Progetto Vivaldi 2</a>&nbsp;in the series, from the treasure trove of the works of Antonio Vivaldi, much of which has been discovered in recent decades in various places in Europe. With her brother, violinist Andr&eacute;s Gabetta who is also concertmaster here, and their Baroque ensemble "Capella Gabetta", they present more works of 'the Red Priest'. For the first time in this series, she includes excellent compositions by three Vivaldi contemporaries from the Baroque era: composer & kapellmeister Fortunato Chelleri, composer and oboist Giovanni Benedetto Platti, and composer violinist Andrea Zani whose compositions were commissioned by the Duke of Schloss Wiesentheid and they were recently discovered in the Duke's Bavarian castle. As with the initial Vivaldi Project recording, Sol Gabetta re-strings her 1759 Guadagnini cello with gut strings tuned to the Baroque range and brings her 1781 Gagliano cello into the mix as well. Instead of putting the other composers at the end of Vivaldi's work, she alternates Vivaldi's work with each of the other composers and puts the world premier of Chelleri's concerto at the end of this recording. The recording has a nice flow of different Baroque musical approaches by these 4 composers, amid dynamic aural levels of beauty and intensity throughout.

All selections are excellent and some highlights from this 24 track recording, begin with excellent performances of both swirling Allegro movements, framing a lovely Largo, from Vivaldi's familiar Concerto for Violoncello and Orchestra in A Minor, RV 422. Then there is the gentle and lovely 'all pizzicato' exposition by the Gabetta siblings of the Andante movement and the breathtaking violin/cello passages between the Gabettas on the Allegro movement of the Concerto for Two Mandolins in G Major RV 532, adapted for violin and cello. The virtuosic "Adagio e staccato-Allegro" movement of Platti's Concerto for Violoncello and Orchestra in C Minor, WD 669 is a marvelous performance. As is, Vivaldi's Allegro Vivace movement from the D Major concerto, RV 404. And the icing on the cake of this "The Vivaldi Project" installment is the world premier of Chelleri's Concerto for Violoncello and Orchestra in G Major: the highlight of which is the lovely, pastoral, minuet-like intro theme of the Adagio Staccato-tempo gusto movement and its surging uptempo mode, and the echoing spiccato figurations between Gabetta and the orchestra. This is Sol Gabetta's 11th recording in 8 years since her career took flight after winning the Echo Award, (which includes the recent "<a data-hook="product-link-linked" class="a-link-normal" href="/Duo/dp/B008YMHORI/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Duo</a>" recording with pianist H&eacute;l&egrave;ne Grimaud) and it gets my Highest Recommendation. Five ENJOYABLE Stars (24 tracks with digital booklet; Time-73 minutes)
396972
I have been listening to the wonderful new release by pianist Soyeon Lee of Scarlatti sonatas on Naxos.  Much as I enjoy Scarlatti on the piano, I wanted to hear this type of music on the harpsichord, and I turned to this early volume in the Naxos series of the harpsichord music of Scarlatti's probable student, the Spanish monk, priest, and composer Antonio Soler (1729 -- 1783)  This CD, released in 1997, is the third in a projected 15 -- 16 volume set of Soler's approximately 150 harpsichord sonatas beautifully performed by Gilbert Rowland.  As of this writing, 12 CDs in the series are available.

The more I hear Scarlatti and Soler, the easier it becomes to differentiate them.  Soler's music is distinctly rougher around the edges without the quirkiness or subtelty of Scarlatti's.  But Soler's works move much more in the direction of early classical style, with their galant themes, use of the Alberti bass figure, and frequent multi-movement format.  There is much to love in both composers.  The famous Scarlatti scholar, Ralph Kirkpatrik, wrote insighfully of Soler's music:

"anything gayer or more frivolous could hardly be imagined.  One is accustomed to finding frolicking roseate cherubs, not to mention languorous saints, in eighteenth-century churches, but this for the Escorial is almost as if the College of Cardinals were to break into a jig!" (Kirkpatrick, "Domenico Scarlatti" (1968) at 123).

This volume consists of 11 Soler sonatas with Gilbert Rowland providing informative notes on each in addition to his excellent performances.  The tone of the collection is upbeat,joyful, and rambunctious, with only two works in the minor key.  But the minor key works include the lovely and melancholy Sonata 117 in D minor, one of Soler's finest efforts in the form.

Many of the sonatas are grouped by key pattern to form a unit. Thus the Sonatas nos. 32 and 57 in G minor are followed in this compilation by the sonata no. 33 in G major. Each of these works is in a different character, with the first being rather introspective, the second fiery and dancelike, and the third leaning towards the classical period.  Similarly, the sonata no. 28 in C major is paired with sonata no. 29 in the same key.  The former sonata is lengthy, with a lyrical swaying classical theme while its successor is a shorter, more baroque Scarlatti-like piece.

The CD concludes with a four-movement work, the sonata no. 93 in F major, opus 4 no. 3 (1779) which belongs in the early classical world of Haydn.  The sonata opens with a lengthy and operatic andante which is followed by a short and virtuosic presto and by two contrasting minuets.  The highlight of the sonata is its conclusion, a short, rapid, and flamboyant movement in the style of a Spanish dance.

Soler's highly Spanish-flavored harpsichord music, as is that of his great predecessor, is a source of never-ending delight.  Those who love Scarlatti and harpsichord music will enjoy getting to know the music of Antonio Soler in this volume and in other volumes of Rowland's performances on Naxos.

Robin Friedman
3046896
I am delighted this disk is back in print and recommend it to you wholeheartedly.

First, there is the music of Claudio Monteverdi, one of the greatest composers of all time.  Born in 1567, he served as a chorister in his youth and entered the service of Duke Gonzaga of Mantua in 1590.  He traveled with the Duke to other parts of Europe and after the turn of the century Monteverdi was one of those founding the movement to music that more directly expressed the emotion of the words being sung.  It was a revolution that was also part of the founding of opera.  While a few operas were written before Monteverdi's "Orfeo", it was his opera that is generally recognized as the first great operatic work and any listening to early opera usually leads to a reaffirmation of this view, even though the others are beautiful and certainly worth hearing.

In 1613 he became the maestro di capella at St. Mark's in Venice and his music was in tremendous demand.  This disk includes several of his numbers for his wealthy patrons and several of his short works for the Church.  These are all fine works and offer a great variety of affect and expression.  Some are delightful and full of light, others are sad and have a tragic affect.  You will enjoy them all and have your own favorites.

Kirkby and Tubb have sung together before and their voices work very well together.  They each have solos on the disk and each shows the range of their talent and the beauty of their voices.  I am a huge fan of both of these wonderful singers and delight in hearing them sing so wonderfully on this disk.

Rooley and his consort provide wonderful accompaniment appropriate to each number.  On one you might have lutes, and chitarrone, another might have a harp, another violins or viol and another will be accompanied by organ.  I love the tasteful and wonderful sound created by the accompanists to add to the beauty of the vocal lines and to bring the whole to a greater unity rather than simply providing supporting harmonies or getting too busy and cluttering things up.

Strongly recommended.  Monteverdi, Kirky, Tubbs, Rooley et al, how can you go wrong?
2424360
I first found these in a dusty side bin in beacon records in providence in 1977. They were appealing and well done back then, and frankly, even with the onslaught of so many more recent versions, and on period instruments, these hold up very well, and I'm glad they were put on CD. Igor Kipnis was a tremendously gifted harpsichordist, and plays these with both style and keen attention to the nuances of baroque ornamentation. Sir Neville Marriner's accompaniment with the so-called London Strings (the early ASMF) is very apt. (Although this may not be perfectly "au courant" with the period instrument police), I found in revisiting these recordings that Marriner injected slightly more emotion and a touch more passion into the orchestral playing than more recent renditions, where the orchestral forces often been whittled down to two anemic violinists, a hurdy-gurdy man and two whining chipmunks. (All joking aside,) I actually do like the fleet, "small group" approach to Bach's concerti (listen for example, to Rachel Podger's transcendent work with the Brecon Baroque) but there's room for a variety of approaches here, and Marriner loses nothing in nimbleness by letting the blood flow a bit. If you're looking for a solid, well executed set at a cheap price, this will do nicely.

By the way, this set also has been reissued on Newton Classics, much to my intense delight. Its unclear how much they've cleaned up the sound. While I don't detect vast improvement, I hardly have state-of-the-art equipment, and frankly was just so glad to find the set reissued, I'd settle for even middle-of-the-road sonics.
3809004
Handel is a master of exquisite exuberance, and Rene Jacobs brings it out marvellously. Jacobs takes the desired effect--enchantment--as his starting point and works back from there. The result is more than a fine recording; it is an intoxicating musical landscape. The sound is absolutely luscious: supple, frothy, mesmerizing. It whisks you into the soft vivacity and splendid melancholy of Baroque palaces, into that sumptuous mix of restraint and abandon. It creates a sense of wonder that is so central to Baroque opera. Perhaps the seduction lies in the ways in which the voices mingle with the orchestra and with each other. It is not in any particular singer as good as they are; it is always in the musical tapestry as a whole. The Decca recording has outstanding singers and does almost everything right, but this one has the magical ingredient that takes it from pleasing to bewitching. True, Vivica Genaux is not heroic in the title role, and neither is David Daniels on the Decca version. But Rinaldo does not express the 19th century heroism we are accustomed to. It is something more indefinite. It works differently. Suspension of disbelief is its very medium.  And ultimately I do not much care why this version enthrals; I take pleasure in its effects. This is a recording to which to spend a voluptuous afternoon on the divan.
3622465
As a Baltimorean who was grateful for David Zinman's tenure with the Baltimore Symphony, I was naturally attracted to hear how he would attack Beethoven's "Missa Solemnis," Beethoven's most complex and demanding composition. My point of reference is versus the well-known Herbert Von Karajan, Berlin Philharmonic recording, long regarded as one of the great standards for the work and also John Eliot Gardiner's more recent recording which strives for a more intimate, historically accurate sound played on period instruments. Zinman seeks a most satisfying pursuit for his presentation going for emphasizing a truly spiritual ethereal sound that is gorgeously uplifting and engaging leaving Beethoven's natural talent to create drama in his composition speak for itself not having to add additional weight with the baton. This is by no means of soft or gentle presentation; such an approach would never suit Beethoven well.

Other benefits of this fine recording, it's a budget priced CD, a nice savings from most tier one performances. Also it is broken into 21 CD tracks allowing the listener to enjoy the smallest subdivisions of the composition as opposed to the others which combine all three parts of the "Kyrie," for instance, into one track. The sound quality is clear and spacious, a very good listen.

For listeners who love this amazing composition and would enjoy a fresh version, here it is. Also for listeners new to classical music or perhaps a little uncertain of diving into exploring complex choral work, Zinman's recording might be just a little friendlier given its more balanced approach.
2490487
If you are looking for Bach's "original violin concertos" (BWV 1041-1043), these are not them.  What is on this CD are concertos "reconstructed" from some of Bach's later harpsichord concertos.  Behind this reconstruction is the presumption that Bach's keyboard concertos were all transcribed from earlier violin concertos (a common practice of that era).  But, for the concertos featured on this disc, there are no surviving original violin concertos - hence the need to work backwards and "reconstruct" the assumed violin part.  Such a change of soloist instrumentation brings one advantage: the violin's supreme, vocal expressivity over the leyboard, particularly in the slower, aria-like movements.  So, with this role-reversal, the violinist in the driver's seat - which, in the case of period-virtuoso Fabio Biondi - sets the stage for something promising to come.

One might expect upon seeing Fabio Biondi as lead violin, music full of high drama and adrenaline like his Vivaldi recordings.  But, while some of that energy is here in the allegros, the music overall here has a more elgant, richly melodic and even sometimes contemplative mood to it that is most fitting to the period and composer.  Most notable is Biondi's characteristic equiste shaping of the music, with a joyful and sensuous tone that make for an attractive listening experience.  Few can match his gorgeous and expressive "singing style" which finds a perfect match in the slow, aria-esque movements. The adagios and largos are taken at just the right pace and are truly beautiful to behold (the G minor largo can sing you to sleep).  And no work is more melodically-alluring than the Concerto for Violin and Oboe which features a most gentle and soaring dialog between the two lyrical soloists in the Adagio.  Fabio Biondi's sweet, honeyed tones like this can truly spoil one and change your conceptions of "period instruments."  Equally, Biondi's wonderfully articulated bowing in the D minor Allegro solo is equisite and compelling, creating an ethereal tremolo effect that is mesmerizing.  The spirited allegros have just the right amount of verve and pace without forgetting this is Bach and not Vivaldi.  The harpsichord concerto BWV 1054 is also quite satisfying, having a perfectly judged tempo and an upbeat - yet relaxed - feel to it that makes it a frequent favorite.

The Europa Galante are an equal star in the set and sound marvelous with their smaller Baroque orchestra that brings a more intimate, chamber-like feel to the music.  I really liked this aspect as likely will others who prefer chamber-music dynamics over full symphonies.  Overall, there is a nobility and poise in their playing here that is not rushed, but yet communicates depth and passion.  It is most refreshing music.  Last, I found the sound quality to be full, clear, balanced - one of the better ones I have from Veritas - so I cannot agree with the lead review citing a deficiency. In short, this is a fairly unique approach and recording of some Bach Concertos full of stylish yet refined playing in a smaller chamber-like setting.  I have a lot of CD's of Bach by many groups and many from the Europa Galante, but this one became a surprize favorite.  Five stars.
3945331
As far as I know, this is the only place you can hear/own Bach's masterwork, "The Passion of Jesus Christ according to St. Matthew", presented IN ENGLISH! The music is great here, yes, but this rarity of English language being sung makes this collection indispensable to Bach / classical music fans who don't speak German, and would like to actually UNDERSTAND what they're listening to! Also: this long masterwork has been abridged somewhat, and I cannot complain -- having never heard the work all the way through, in its full score -- because it's long enough and profound enough, for me, right here! (ATTN: SONY: the cover art-work could be re-done, to make this otherwise fully attractive box-set more reverent and appealing to the eye; "Bernstein Century" or no, who wants to gaze at the man on a cigarette break whenever they bring out this Bach masterpiece!)
1802067
Leave it to Naxos to resurrect in stunning fashion the works of a rarely heard and even more rarely recorded master: Francesco Geminiani. This suite of concerti grossi is a welcome addition to anyone's collection of Baroque period music: warm, joyful, enchanting, lively, unpredictable, and often moving. While most of us have heard endless renditions of Vivaldi's "Four Seasons" or Bach's "Brandenburg Concertos", we've had little chance to appreciate other masters like Geminiani. Acquire this music and enrich your soul.

My Amazon books about money:&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/A-Return-to-Abundance-Book-1-Money-and-happiness-abundance-and-prosperity-money-and-the-unconscious-mind-a-mythological-psychological-historical-and-family-of-origin-look-at-money-its-power/dp/0982661908/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">A Return to Abundance, Book 1:  Money and happiness, abundance and prosperity, money and the unconscious mind: a mythological, psychological, historical, and family of origin look at money & its power</a>
1869248
Sweelinck was older than Bach. His music is less intricate and eerie otherworldy than the music of Bach, but it makes up for that with its freshness and joyfullness! This definite collection is fantastic with many spirited perfomances. This music has a beauty and value in itself which far outweighs its academic interest as a precursor to Bach.
The CDs are accompanied by a real book describing the music, the composer and his place in time and space, and the organs used for this recording.
4517874
As one who loves classical music but is not a musician, I found this album of less well-known Albinoni oboe/violin concertos to be quite enjoyable.  It pairs well with the better-known concertos of Opus 9.  While less sophisticated, it is eminently listenable and I recommend it to lovers of Baroque music.
1304121
The Helianthus Ensemble and Laura Pontecorvo are to be congratulated for helping our century discover the genius of early baroque composer Giovanni Battista Buonamente (1595  1642). A couple of earlier attempts by others have failed. The Helianthus recording, however, succeeds on all levels of interpretation and engineering. This is the early Italian baroque as you've never heard it before: ear-opening and revelatory. One has the impression of listening to history in the making, as if the composer has come to life. The illustrious Gonzagas of Mantua, arbiters of musical taste in their day, Holy Roman Emperor Ferdinand II whose court at Vienna was renowned for its musical refinements, and the Church of Assisi, where Buonamente spent the last years of his life as meastro di capella--these could not have erred in their patronage of this masterful genius. Buy this recording now for your own delectation, but also as the perfect gift for friends and family.
4565980
From the very first notes, this imaginative programme of baroque sacred music from Bohemia captivates the listener. The lovely opening Kyrie of JCF Fischer's Litaniae is characterised by delicious harmonies, with four fine soloists among whom the soprano, Hana Blazkov, sings like an angel with a gloriously pure, silvery voice and impeccable baroque style to match.

In fact, Johann Caspar Ferdinand Fischer himself was not Bohemian but German, one of a number of composers represented on this disc whose music was written for or associated with the Piarist religious order in Bohemia and Moravia. This monastic order provided free education for children of the poor, with a special emphasis on music. The other Piarist composers here are Antonn Maschat, Vojtch Pelikn, Jan Offner and Johann Ferdinand Richter, and all of the music is of extremely high quality. Most of the pieces are written for soloists and instruments, sometimes also with choir.

Especially fine is the Mass by Pelikn, a lovely work whose highlights include a Kyrie of beautiful melody and texture, fugal sections at the end of the Gloria and Credo that go with a real swing, and several glorious instrumental passages. Richter's Dixit Dominus is richly scored, with frequent brilliant fugal sections that are sung with beauty, energy and feeling by the superb boys' choir. The same composer's Magnificat is another splendid, tuneful and energetic work, with lovely duetting between soprano Hana Blazkov and mezzo Petra Noskaiov at "Quia respexit" and a superb passage for bass Vojtech afark at "dispersit superbos". Fischer's Salve Regina is a heartfelt devotional piece, showing the soloists at their very best and bringing the programme to a memorable conclusion.

Several of these works are richly scored for strings, natural trumpets and continuo instruments. I haven't yet mentioned the players of the Capella Regia Praha but they too are absolutely outstanding; creating the lovely, silvery texture that characterises the very best groups of players of authentic instruments, they perform with skill, insight and in superb baroque style under the inspired direction of Robert Hugo. The vocal soloists - soprano, mezzo, two tenors and two basses -  are all excellent and the boys' choir, Pueri Gaudentes, are simply brilliant.

The CD is finely presented in a slip-case and accompanied by a generous booklet with thorough documentation, background notes, texts and translations, and engaging photos of the performers taken during recording sessions. Oddly, though, the text of the Mass is not included - perhaps we are supposed to know it by heart already or, more likely, find it in some other CD booklet if necessary. The church recording is outstanding in both atmosphere and clarity.

This enterprising programme of first recordings has been brilliantly conceived, selected and arranged to bring nearly 80 minutes of fascination and delight to lovers of the baroque. It is a great credit to the Supraphon label and, above all, to Robert Hugo and his wonderful musicians, and altogether it's a stunning success.