The importance of Georg Christoph Wagenseil (1715-1777) in the development of the classical symphony cannot be underestimated, and his concertos were also significant in the formation of the style of early Viennese classicism. As its chief representative, Wagenseil unites Italian, French and German stylistic elements in his works, as was typical of the 'mixed style' of the early 18th century. Moreover, he is considered one of the perfectors of the gallant-sentimental stylistic epoch which became so essential for the formation of classicism in 18th-century music history.

Susanna comes late in the sequence of Handel’s oratorios but in some ways the composer looks back in it to his experience of Italian opera. It largely comprises a sequence of arias (many in the repeated, da capo form of opera seria) as it relates the story from the Biblical Apocrypha of Susanna who is falsely accused of adultery and eventually vindicated through the clever judicial manoeuvrings of the young prophet Daniel.

Jean-François Madeuf and Pierre-Yves Madeuf are two of the leading exponents of the historically informed performance practice as applied to wind instruments. On natural horn or natural trumpet they can be found in many of Europe’s main early music ensembles and orchestras. On this new Accent CD, they team up with Sigiswald Kuijken’s exquisite La Petite Bande to perform a set of Georg Philipp Telemann concertos as they have never been heard before on record: using natural trumpets and horns, and bringing the pieces back to their original chamber music context.

Amongst several delightful examples of mid- and late-baroque German solo cantatas included here, one stands out as a little masterpiece. It's a lamentation by Johann Christoph Bach, the leading composer of the Bach dynasty before Johann Sebastian. I cannot imagine any listener to be capable of hearing this music without in some way being affected by its poignancy.

Give each instrument what suits it best, thus is the player content and you well entertained.’ In these pieces, unenticingly called ‘Methodical Sonatas’, Telemann is as good as his word. These are delightful works, full of humour, very skilfully written and never dull. There are two sets of six sonatas each. All are played on a Baroque flute, though certain keys suggest a violin, with fluency and impeccable taste by Barthold Kuijken. His tone is alluring and his ornamentation, mainly based on Telemann’s own suggestions, faultlessly executed. A programme for performers and listeners alike. Outstanding.