Vivaldi wrote an astonishing 500 concertos during his lifetime, of which 27 were composed for solo cello. At the time, the instrument was in its infancy, and it was unusual for great composers to write works specifically for solo cello. Indeed, none of the concertos were published during Vivaldi’s lifetime: they had been written specially for his young female students at the Ospedale della Pietà, where the composer was employed in Venice, and were therefore not widely known. However, Vivaldi clearly saw the potential in the new instrument, otherwise he would not have gone on to write so much material for it; after the violin and bassoon, it is his third most popular solo concerto instrument.

According to Christopher Hogwood, in his marvelous biography of Handel, "In the winter of that year [1750], Handel received what was for him an unusual commission. Although closely associated with the London theatre, he wrote very little incidental music for plays. A request from John Rich to provide airs and dances for Smollett's 'Alceste' was undertaken, according to Hawkins, in repayment of a debt to Rich."

Those inclined to take for granted Gluck's remarks concerning opera seria (''florid descriptions, unnatural paragons and sententious, cold morality'') could do a lot worse than listen to Handel's Orlando. Based at some remove on an episode from Ariosto's epic poem Orlando furioso, it's a work which in place of posturing heroes and unlikely dilemmas offers credible characters and situations, all drawn with that touching human sympathy and understanding that were such an important part of Handel's creative personality. First staged in London in 1733, it is one of the greatest operas the eighteenth century produced, yet it almost goes without saying that the very musical and dramatic qualities that place it beyond Gluckian criticism were at least partly responsible for the limited success it enjoyed in its own day.

In the second of four Hyperion discs dedicated to the works for violin and orchestra by Czech-French-American-Swiss composer Bohuslav Martinu, violinist Bohuslav Matousek with Christopher Hogwood and the Czech Philharmonic Orchestra join two of the composer's typically atypical works: the Concerto da camera for violin with string orchestra, piano and percussion and the Concerto for violin and piano with orchestra.

For those who like their modernism light, buoyant, and lyrical, there's Bohuslav Martinu's prewar music. And for those who like their modernism big, bold yet still lyrical, there's Martinu's postwar music. On this 2007 Hyperion disc, the first of four devoted to the Czech composer's complete violin concertos, violinist Bohuslav Matousek with Christopher Hogwood and the Czech Philharmonic Orchestra present three wonderful works from both sides of the war: the Concerto for flute, violin, and orchestra from 1936 and the Duo concertante for two violins and orchestra from 1937 plus the Concerto in D major for two violins and orchestra from 1950.

In September 1790, following the death of his princely employer, court composer Haydn and his entire orchestra were sacked. As he was considering this change in circumstances, Haydn received an unexpected visit from Johann Peter Salomon, a German impresario based in London, who made him a tempting offer: an opera, six symphonies and twenty other pieces to be written for the city, and a guaranteed income from a new concert series. So it was that, on 2 January 1791, Haydn arrived in England for the first of two visits that would leave an indelible mark both on the musical life of his host country and on the composer himself.

Following his attractive performance of six of Vivaldi's cello sonatas, Christophe Coin has recorded six of the composer's 24 or so concertos for the instrument. Five of these, Michael Talbot tells us in an interesting accompanying note, probably belong to the 1720s while the sixth, the Concerto in G minor (RV416), is evidently a much earlier work. Coin has chosen, if I may use the expression somewhat out of its usual context, six of the best and plays them with virtuosity and an affecting awareness of their lyrical content. That quality, furthermore, is not confined to slow movements but occurs frequently in solo passages of faster ones, too. It would be difficult to single out any one work among the six for particular praise. My own favourite has long been the happily spirited Concerto in G major (RV413) with which Coin ends his programme. Strongly recommended. (Gramophone Magazine)

Purcell’s fourth and last full-scale semi-opera, The Indian Queen, is often passed over in favour of its longer and more rounded predecessors, especially King Arthur and The Fairy Queen. The reasons are plentiful: Thomas Betterton, with whom Purcell collaborated, never finished his reworking of an early Restoration tragedy and even if he had torn himself away from his business interests in 1695, Purcell would not have been alive to set the remaining music for Act 5. As it happened, Henry’s brother Daniel set the masque from the final act after Betterton had hired an anonymous writer to finish his adaptation. No one can deny that neither verse nor music achieved the heights imagined in the original collaboration; given the quality of the masques in Purcell’s large ‘dramatick’ operas (including Dioclesian, of course), there is an undoubted sense of anticlimax.

Led by Christopher Hogwood, the Academy of Ancient Music has made many renowned recordings of Handel's music-particularly the oratorios. The beloved Messiah heads up this 8-CD set, followed by Esther; La Resurezzione , and, making its return to the international catalog after an absence of several years, the 1985 recording of Athalia -with none other than Joan Sutherland in the title role! Recorded in London, 1979-85.

Glorious Majesty Music for English Kings and Queens is a 3CD collection of classical music written for English Kings and Queens through the ages. From Elizabeth I to Elizabeth II (via Queen Mary II, Queen Anne, George II, Edward VI, and George V) the collection includes the much-loved classics Handel s Zadok the Priest and Music for the Royal Fireworks, Parry s I was glad, Elgar s Coronation March, Walton s Crown Imperial and Orb and Sceptre, and not forgetting Elgar s arrangement of the National Anthem

Nine cello sonatas by Vivaldi have survived. Six of them were published as a set in Paris in about 1740; that set, mistakenly known as the composer's Op. 14, contains the sonatas recorded in this release. The three remaining sonatas come from manuscript collections. All but one of the six works are cast in the slow-fast-slow-fast pattern of movements of the sonata da chiesa. The odd one out, RV46, in fact, retains the four movement sequence but inclines towards the sonata da camera in the use of dance titles. The music of these sonatas is almost consistently interesting, often reaching high points of expressive eloquence, as we find, for example, in the justifiably popular Sonata in E minor, RV40. Christophe Coin brings to life these details in the music with technical assurance and a spirit evidently responsive to its poetic content. Particularly affecting instances of this occur in the third movements of the A minor and the E minor Sonatas where Coin shapes each phrase, lovingly achieving at the same time a beautifully sustained cantabile.

Commissioned or premiered by some of the greatest violinists of the age—Kreisler, Dushkin, Elman—all the usual Martinu virtues are here in abundance, which makes the subsequent neglect of this important body of work even more incomprehensible. A decade after their original release, these recordings remain virtually unchallenged. The works recorded in this set—Martinu’s complete output for solo violin and orchestra, including compositions with other solo instruments.

When Richard Maunder's editions get together with Christopher Hogwood and co, you know instantly that the result will be spot on. The sound of the boy treble line (singing alto as well) is earthy yet in tune, and well complemented by the strong lower parts. The orchestra is supportive yet unobtrusive. The dynamics and phrasing are all well chosen and executed. The choice of soloists is inspired, especially Arleen Auger - such a beautiful voice. It is just a pity that there is not more on the disc - some have argued in the 'Dona ut Kyrie' tradition that an Agnus Dei could be tacked on at the end using the music of the Kyrie. An excellent recording.

Among various instrumental works composed by Vivaldi, there are twenty-seven trio sonatas, most of them written for two violins - either with or without continuo. Twelve of these sonatas were published in 1705 by the Venetian music publisher, Giuseppe Sala in a collection entitled Suonate da Camera a Tre, due Violini, e Violone o Cembalo. This Opus 1 collection contains the earliest known sonatas by Vivaldi. As indicated on the title-page of the collection, they could be played by two violins and violoncello (originally a violone) or by two violins and harpsichord.