1 - Albinoni - Albinoni- Giazotto:ADAGIO IN G MINOR FOR ORCHESTRA AND ORGAN - 8:33
2 - Purcel - Purcell:CHACONNE IN G MINOR FOR 4 VOICES - 6:12
3 - Handel - Handel: MENULETTO _ Oratorio 'Herakles ' - 2:59
4 - Handel - Handel:LARCHETTO E PIANO-Concerto Grosso in B Minor Op.6.No.12 - 4:46
5 - Purcel - Purcell:SUITE IN E MINOR FOR STRING ORCHESTRA-An Ode for St. Cecilias Day 'W... - 10:54
6 - Purcel - Purcell: 'ABDELAZAR 'SUITE IN D MINOR. Z.570 - 10:29
7 - Telemann - Telemann:CONCERTO IN G MAJOR FOR VIOLA AND STRING ORCHESTRA - 13:07
8 - Sammartini - Sammartini:ANDANTE AMOROSO-Sonata in A Minor. Op.1- No.4 - 3:15
9 - A.Marcello - A.Marcello:ADAGIO-Oboe Concerto in C Minor - 4:17
10 - Pachebel - Pachebel:CANON AND GIGUE FOR 3 VOICES AND CONTINUO - 6:56

Baroque Music is a style of European Classical Music between 1600 to 1750. The baroque era followed the Renaissance period (approx. 1400 - 1600) and preceeded the Classical era (1750 - 1820). The baroque period is notable for the development of counterpoint, a period in which harmonic complexity grew alongside emphasis on contrast. In opera, intererst was transferred from recitative to aria, and in church music the contrasts of solo voices, chorus, and orchestra were developed to a high degree. In instrumental music the period saw the emergence of the sonata, the suite, and particularly the concerto grosso, as in the music of Corelli, Vivaldi, Handel, and Bach. Most baroque music uses continuo. Note that 18th century writers used 'baroque' in a pejorative sense to mean 'coarse' or 'old-fashioned in taste'.

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01. Toccata and Fugue In D Minor BWV565 [0:09:12.22]
02. Choral 'Wachet auf,ruft uns die Stimme' BWV645 [0:04:01.38]
03. Pavane Lachrymae [0:07:25.07]
04. Largo-'Xerxes'(Transcription:Akio Yashiro) [0:04:23.60]
05. The Harmonious Blacksmith [0:04:43.30]
06. Le Tambourin [0:01:25.68]
07. Le Coucou [0:01:54.30]
08. Largo-Piccolo Concerto in C Major.F.VI-4 [0:02:43.22]
09. Siciliano-Flute Sonata in E flat Major,BWV1031 [0:01:58.60]
10. Andante-Italian Concerto in F Major,BWV971 [0:04:43.18]
11. Violin Sonata No.1 in A Major. Op1, No.3 [0:08:57.25]
12. Arioso-Cantata No.156 [0:04:27.37]
13. L'hivre-Pastourelle-Polonaise-'Der getreue Music-Meister [0:04:28.58]
14. Fugue in G Minor(Little Fugue), BWV578 [0:04:02.40]
15. Choral 'Jesus bleibet meine Freude' BWV147 [0:03:35.20]

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Vivaldi, Antonio
Garcia, Gerald, arranger(s)
Violin Concerto in E Minor, RV 277, "Il Favorito" (guitar trans. Garcia)
01. I. Allegro 00:05:22
02. II. Andante 00:05:56
03. III. Allegro 00:05:22

Vivaldi, Antonio
Trio Sonata in C Major, RV 82
04. I. Allegro non molto 00:04:05
05. II. Larghetto - Lento 00:04:13
06. III. Allegro 00:02:33
Trio Sonata in G Minor, RV 85
07. I. Andante molto 00:04:14
08. II. Larghetto 00:02:40
09. III. Allegro 00:02:19

Vivaldi, Antonio
Garcia, Gerald, arranger(s)
Lute Concerto in D Major, RV 93 (guitar trans. Garcia)
10. I. Allegro giusto 00:03:45
11. II. Largo 00:04:38
12. III. Allegro 00:02:31

Bach, Johann Sebastian
Garcia, Gerald, arranger(s)
Harpsichord Concerto in D Minor, BWV 1052 (guitar trans. Garcia)
13. I. Allegro 00:09:14
14. II. Adagio 00:08:21
15. III. Allegro 00:10:10

Gerald Garcia – Guitar
Maria Licková – Harpsichord
Pavol Gimcik - Cello 
Karol Petroczi - Viola d'amore
Camerata Cassovia
Peter Breiner – conductor

Over the last 20 years, the Naxos label has done a great deal to obtain its reputation as one of the leading classical guitar labels. Its very first guitarist was Gerald Garcia, who was not slow to show the way forward by extending the rather limited guitar repertoire by making arrangements of pieces originally written for other instruments. This is what he has done here, too: None of the music on this disc was written for guitar, it is all arranged by Garcia himself, who plays a modern guitar and definitely not a baroque instrument. This rather makes the title of the disc a misnomer: no baroque guitar, no guitar music at all in the original, and certainly no guitar favourites as these arrangements were only made shortly before the disc was recorded! It would have been more to the point to entitle the whole: "Baroque Favourites arranged for Modern Guitar", but I suppose the marketing strategists wouldn't have liked that very much! --- Leslie Richford, amazon.com

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Antonio de Literes - Ha Del Rústico Pastor
1 	Introducción 	1:42
2 	Recitado - Aria 	3:56
3 	Recitado - Aria 	4:06
4 	Recitado - Minuete - Grave 	3:46

Anonymous
5 	Pascalles I-II 	3:41

Joaquín Martínez de la Roca - Los Desagravios De Troya
6 	Despacio - Solo Con Violines - Recitado - Seguidillas 	3:09
7 	Recitado - Solo Con Violines - Seguidillas 	2:20
8 	Aria - Recitado - Solo Con Violines - Recitado - Seguidillas - Minue 	5:29
9 	Primera Jornada: Recitado - Aria 	6:04
10 	Segunda Jornado: Recitado - Coplas 	4:28

Francisco José de Castro - Sonata Prima
11 	Preludio 	2:10
12 	Allemanda 	1:46
13 	Corrente 	1:28
14 	Giga 	1:09
15 	Minue 	0:47

José de Torres Martínez Bravo - !O, Quién Pudiera Alcanzar!
16 	Aria 	3:45
17 	Recitado - Aria 	3:13
18 	Despacio 	2:38
19 	Fuga 	1:17
20 	Recitado - Aria 	3:20
21 	Grave 	1:53

Al Ayre Español (Ensemble)
Eduardo López Banzo – conductor

In many works, Spanish Baroque music is a mixture of both school and popular music. Rhythms, color, instrumentation, melody and even the harmonic support have a little arabian touch. It developed mostly through popular music, not court music. Then, it was assimilated into the Spanish tradition. The 18th century Spanish were still impressed by the polyphony of the 16th century and continued to compose in that style.

Spanish composers such as Sebastián Durón (1660-1716), Antonio Literes (1673-1747) and José de Torres (c.1670-1738) used combined rhythms. Literes have a quartet of four voices, each singing a different rhythm with accents falling in different places. Many Spanish composers at that time were not satisfied with the rhythm of the bass and the voice, and added a lot of rhythms with the continuo and the percussion.

Complex rhythms which include a flamenco drum player, for example, recreate this atmosphere. The rythmic changes in Spanish baroque music are constant. The pizzicato string continuo played like guitars, the castanets, the descending tetrachords typical of the malagueña mixed with classic galant always excite the listener. --- geocities.ws

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01. Geminiani - Trio Sonata No.1 in A major, Op.1 - Grave-Adagio
02. Geminiani - Trio Sonata No.1 in A major, Op.1 - Allegro
03. Geminiani - Trio Sonata No.1 in A major, Op.1 - Grave - Allegro moderato
04. Corelli - Sonate da chiesa a tre in B minor, Op.1 - Grave-Andante
05. Corelli - Sonate da chiesa a tre in B minor, Op.1 - Adagio
06. Corelli - Sonate da chiesa a tre in B minor, Op.1 - Allegro
07. Pugnani - Sonata, Op.1, No.3 - Andante
08. Pugnani - Sonata, Op.1, No.3 - Presto
09. Pugnani - Sonata, Op.1, No.3 - Grazioso
10. Corelli - Sonate da camera a tre in B flat major, Op.4 - Preludio-Largo
11. Corelli - Sonate da camera a tre in B flat major, Op.4 - Corrente-Allegro-Grave
12. Corelli - Sonate da camera a tre in B flat major, Op.4 - Tempo di Gavotta-All...
13. Vivaldi - Sonata in C major, RV779 - Andante
14. Vivaldi - Sonata in C major, RV779 - Allegro
15. Vivaldi - Sonata in C major, RV779 - Largo e cantabile
16. Vivaldi - Sonata in C major, RV779 - Allegro
17. Corelli - Sonate da camera a tre in E minor, Op.2 - Adagio
18. Corelli - Sonate da camera a tre in E minor, Op.2 - Allemanda-Allegro-Grave-A...
19. Corelli - Sonate da camera a tre in E minor, Op.2 - Giga-Allegro molto
20. Porpora - Sinfonia da camera, Op.2, No.6 - Adagio
21. Porpora - Sinfonia da camera, Op.2, No.6 - Allegro
22. Porpora - Sinfonia da camera, Op.2, No.6 - Affetuoso
23. Porpora - Sinfonia da camera, Op.2, No.6 - Allegro non troppo

Anna & Quido Holbling – violin
Jan Slavik – cello
Daniela Ruso – harpsichord
Vladimir Ruso - organ

If your idea of Italian Baroque Favorites begins and ends Vivaldi's The Seasons and Boccherini's Minuetto, you'll be surprised to find that these overplayed masterworks are not on this CD. (Why does Boccherini keep getting lumped in with Baroque composers, anyway?)

The chamber works on this CD are actually fairly obscure, so there is a good chance that they're not already on another CD in your collection. They are well-played and interesting choices. Sound quality is fine and free of extraneous noise.

There is one glaring flaw in the packaging, however. The composers are listed only on the front of the CD. The listing of tracks on the back includes no indication which sonata was composed by which composer, and there are no liner notes. Perhaps you and your friends can make a parlor game out of distinguishing Pugnani from Porpora. ---P. Berge, amazon.com

This is an excellent selection of rare Baroque enchantments (first released in 1992), comparable to an earlier album ' Baroque Trio Sonatas ' released in 1990. Here some melodies impressed one as even more lyric and affective. The sonatas were played by a trio of two violins and a cello with a harpsichord continuo like the earlier 1990 album, except in the Vivaldi organ sonata, which has a soft organ accompaniment to the string trio without a harpsichord.

Filled with highly lyric, soft flowing melodies - warm and tender, gracious, mellifluous, this album music is well suited for quiet listening, refreshment, relaxation, healing, or simply as background music. --- simon1c, amazon.com

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Disk One
TAFELMUSIK Baroque Orchestra
Jean Lamon, Music Director

1    HANDEL: Entrance of the Queen of Sheba from Solomon
2-3    PACHELBEL: Canon and Gigue

    HANDEL: Selections from Water Music, Suite No. 1, HWV 348
4    I. Overture
5    II. Adagio e staccato
6    VI. Air
7    VIII. Bourree
8    IX. Hornpipe
9    BACH: Air from Suite No. 3 in D

    PURCELL: Incidental music to Ablelazar, or The Moor’s Revenge
10    Rondeau
11    Air
12    Air
13    Jig
14    Hornpipe
15    Air
16    VIVALDI: Concerto op. 10 #2, La Notte

    TELEMANN: Suite from Tafelmusik, Book III
17    II. Bergerie
18    IV. Postillons
19    VI. Badinage

Disc Two
THE HELICON ENSEMBLE 
Albert Fuller, Music Director

    VIVALDI: Sinfonia in C, RV 116

1    I. Allegro molto
2    II. Larghetto
3    III. Allegro

    Trio Sonata in G minor
4    I. Preludio
5    II. Allemanda
6    III. Adagio
7    IV. Capriccio
8    V. Gavotta

    Concerto in E-flat, RV 515 for two violins
9    I. Allegro
10   II. Largo
11    III. Allegro

12    BACH: Prelude in C, WTC Book 1

    Trio Sonata in C, BWV 1037
13    I. Adagio
14   II. Alla breve
15    III. Largo
16    IV. Gigue

    Concerto in D minor, BWV 1043 for two violins
17    I. Vivace
18    II. Largo ma non tanto
19    III. Allegro

On "two CDs for the price of one," to celebrate its silver anniversary in the disc business, Reference Recordings has HDCD-remastered two marvelous analog releases from 1982 and 1986, respectively, newly packaged as "Baroque Favorites." Which many are. The earlier one, originally published as "Popular Masterworks of the Baroque" on RR-13, was recorded by Tafelmusik of Toronto under the direction of Jean Lamon. It includes Handel's ever-seductive Entrance of the Queen of Sheba from Solomon, plus selections from Suite No. 1" of Water Musick (jauntily played, bless Tafelmusik); a perky version of the Pachelbel Canon with its companion Gigue; incidental music by Purcell for Abdelazar, or The Moor's Revenge; Bach's Air on the G-String from Orchestral Suite No. 3; Vivaldi's "La notte" Concerto for recorder, bassoon and strings from Op. 10, and a Suite from Book III of Telemann's Tafelmusik. The remastering fairly glistens, while performances continue to be one and all captivating (that said, let it be noted, by one indifferent to much of the Baroque wallpaper rediscovered during the 20th century, and usually put off by "original instrument" ensembles).

The second disc (formerly RR-23, issued as "Bach/Vivaldi") stars Albert Fuller's superb Helicon Ensemble, recorded in the John Harms Center at Englewood, NJ, in music by the Red Priest of Venice and Bach der Vater. We have Vivaldi's Sinfonia in C (RV 116), G-minor Trio Sonata (RV 73, otherwise Op. 1/1), and E-flat Concerto for Two Violins (RV 515). From the sire of the Bach Dynasty, who admired (and cribbed from) Vivaldi, Mr. Fuller plays the C-major Prelude from Book I of Das wohltemperirte Klavier, while the rest of Helicon address themselves to the Trio Sonata in C (BWV 1037, although reputedly by his pupil Johann Gottlieb Goldberg), and the evergreen Concerto in D minor for Two Violins and Strings (BWV 1043).

Helicon inhabits (or inhabited in 1986) a rarified world with Tafelmusik, and their performances of more substantial music remain treasurable. "Professor" Keith Johnson's recordings have been digitally transferred by Paul Stubblebine and Producer J. Tamblyn Henderson, Jr. with maximal fidelity and no evidence of digital "glare" or other silicontagions. Total-timing for both discs is 1 hour, 44 minutes, and 6 seconds—a Mercedes-limo bargain given the musical contents, impeccable presentation, and sheer luxury of Ref/Rec's HDCD sound. Go buy, if you haven't the originals—or even if you have. ---classicalcdreview.com

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