Of remoter Scottish and nearer French ancestry, the German composer and organist Georg Muffat was employed in Vienna, Prague, Salzburg and finally Passau. A visit to Rome brought acquaintance with Corelli and his music, an influence on Muffat’s own orchestral suites and sonatas.

O Mozart! Immortal Mozart! What countless impressions of a brighter, better life hast thou stamped upon our souls! wrote Schubert in his diary a few months before he started composing his Symphony No. 5. There is a distinctly Mozartian aura to be felt in this piece although the romantic harmonies herald the beginning of a new era: the Concert for Violin and Orchestra, the Rondo and the Polonaise all display the characteristic traits of budding Romanticism. Founded in 1981, Capella Savaria has earned its fame as the first period-instrument chamber orchestra in Hungary. Zsolt Kallo, violinist, acts as the concertmaster, soloist, and artistic director of Capella Savaria.

Franz Benda has earned fame especially for his pieces written for the violin; his sonatas (over 150), duos and capriccios have made a significant impact on the development of violin technique. His compositions also include violin concertos and symphonies: Capella Savaria is now offering a collection of these on this album, drawing the portrait of an important composer of the Pre-Classical era.

Capella Savaria has earned its fame as the first period- instrument chamber orchestra of Hungary. The ensemble’s objectives were, from the onset, to play baroque and classical music in an authentic way. This time they perform Mozart’s double concerto (including additions by Robert D. Levin) together with conductor Nicholas McGegan.“Ideally it should not only sound Mozartean in every bar, but should also produce a feeling of balance in both rhetorical and structural domains—a great challenge.”

This the work was first given in Vienna during Holy Week, 1729, the first of many collaborations between Caldara and Metastasio. Mention of the great librettist provides a prompt that my original review failed to stress the outstanding qualities of the text. Divided into two halves, the first part of the oratorio relates the story of the crucifixion as witnessed through the eyes of Mary Magdalene, John, and Joseph of Arimathea, who respond to the eager questioning of the remorseful Peter. The second part consists of philosophical commentary on the meaning of the crucifixion. Particularly in Part I, Metastasio draws on vivid imagery to convey the full horror of the event. Here, for example, is John describing the nailing to the cross: "… and some hardened, loutish men, sweating as they worked, bathed his face with their foul perspiration."

The St. John Passion was long regarded as an early work by Handel, written in Hamburg in 1704. It had to be early, as there are few really Handelian fingerprints in the music. In the late 1960s though, musicologists started allocating it to Georg Böhm (1661-1733), a Thuringian-born composer who worked in Hamburg and Luneburg. He is remembered chiefly for his fine organ music and his influence on Bach. But the record booklet makes an interesting case for Handel's authorship, particularly as Handel's friend Mattheson was an advocate of the work.

Terpsicore (HWV)(8b) is a prologue in the form of an opéra-ballet by George Frideric Handel. Handel composed it in 1734 for a revision of his opera Il pastor fido which had first been presented in 1712. The revision of Il pastor fido with Terpsicore as the prologue was first performed on 9 November 1734 at Covent Garden theatre in London, opening Handel's first season in that newly built theatre. Terpsicore mixes dance along with solo and choral singing and was patterned after models in French operas, a particular source being Les festes grecques et romaines by Louis Fuzelier and Colin de Blamont, first presented in Paris in 1723. The work featured the celebrated French dancer Marie Sallé as well as stars of Handel's Italian operas and was a success with audiences of the day.

Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani. Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry with Pope Clement XI.

L'opera fu composta nel 1712 e andò in scena per la prima volta il 22 novembre dello stesso anno, sotto la direzione del compositore stesso, al Her Majesty's Theatre di Londra. L'accoglienza fu generalmente negativa, probabilmente a causa delle elevate aspettative che il pubblico nutriva in seguito al successo dell'opera Rinaldo. Un commentatore riporta che "la scenografia rappresentava unicamente l'Arcadia, i costumi erano vecchi e l'opera breve". I ruoli di Mirtillo e Silvio furono interpretati dai castrati Valeriano Pellegrini e Valentino Urbani. L'ouverture è in sei movimenti appare eccessivamente ampia per quei tempi: è verosimile pensare che fosse stata scritta come una suite orchestrale distinta dall'opera.

Joseph Martin Kraus (1756-1792) is often referred to as the Swedish Mozart by popular literature. His style was influenced by the Sturm und Drang movement that he got acquainted with in his early years; the dramatic contrast and passion characterising his music can be attributed to this inspiration. Although he is considered to be a composer of stage music, he also composed a large number of instrumental pieces especially for orchestra and chamber orchestra.

This album features the seldom-played Second Version of the Italian Symphony, and the seldom-played first version of the Violin Concerto. Both are played by the superb early music chamber orchestra, Capella Savaria, conducted by Nicholas McGegan. Zsolt Kalló is the superb violin soloist.

The title “Overture Suites” stems from the stage tradition of the court of Louis XIV in which the overture for an opera, ballet, or play was followed by a set of dances. The term “overture” was applied to the whole grouping, though in actuality these are orchestral suites as we understand the term from J.S. Bach. Some of Telemann’s overture suites are delightful works that must have provided wonderful preparatory entertainment for the evening’s main event. The G major suite, whose title “La Putain” translates as “The Whore”, quotes from the song “It’s been so long since I’ve come to you”. Despite the bawdy name, the suite is filled with jaunty, lively melodies and inventive, characterful dances.

Der Tod Jesu of Carl Heinrich Graun (1704–59), completed in 1755, was for decades the musical mainstay of Passiontide services (a position now held by Bach’s and St. John Passions), being performed by the Berlin Singakademie virtually every Good Friday until 1884. Unlike the passions of Bach, Schütz, and other predecessors, Graun’s work does not set any texts of Scripture. Instead, in line with burgeoning Enlightenment sensibilities, the entire libretto by Carl Wilhelm Ramler (1725–98) is written in the exalted style of impassioned poetic declamation common to opera libretti of the era, in supposed imitation of Greek tragedy. At less than half the length of the Bach passions, and musically far less complex, with dignified and attractive arias composed in a style somewhat akin to those of Handel’s Messiah , it remains winsome even today, and its enduring popularity is readily comprehended.

Atalanta (HWV 35) is a pastoral opera in three acts by George Frideric Handel composed in 1736. It is based upon the mythological female athlete, Atalanta, the libretto (which is in Italian) being derived from the book La Caccia in Etolia by Belisario Valeriani. The identity of the librettist is not known. Handel composed it for the London celebrations of the marriage in 1736 of Frederick, Prince of Wales, eldest son of King George II, to Princess Augusta of Saxe-Gotha. The first performance took place on 12 May 1736 in the Covent Garden Theatre.