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John Baldwin, a lay clerk at St George's Chapel Windsor, was responsible for copying the largest surviving source of Tudor polyphony, the Baldwin Partbooks, between 1575 and 1581. B Virgin and child: Music from the Baldwin Partbooks II b (Signum Classics sigcd474, I issued i 2017) explores the Marian polyphony and presents various styles of Marian motet. The lute also takes on a varied role, including playing proto I basso continuo i parts, a decorated single line, or several lines of the consort intabulated for lute. [Extracted from the article]

B Flute clocks in the Nydahl Collection b (Soundspheres rhlb11, I issued i 2014) showcases the mechanized flute clock, exemplifying interest in experimental and automated music-making in the late 18th and early 19th centuries, and drawing on the Nydahl Collection, which can still be seen today in a permanent exhibition in Stockholm. The musicians set the scene with a pathos-driven opening movement that leads into a spacious Andante with deliciously idiomatic lyrical flute lines that remind us of J. J. Quantz's skill as a flautist and flute teacher as well as a maker of flutes. B J. H. Roman: The 12 flute sonatas nos.1-5 b (BIS 2105, I issued i 2014) transforms Roman's flute sonatas through performance on recorder. [Extracted from the article]

Rien de Reede's book on Parisian flutists of the second half of the 18th century provides biographical information on musicians active in Paris during the years surrounding the French Revolution. The book includes chapters on Pierre-Évrard Taillart and Félix Rault, both students of Michel Blavet, a prominent flutist, bassoonist, and composer. It also features an annotated lexicon with details on 126 individuals from various sources, as well as a bibliography. The book offers insights into the musical life, practices, and opinions of French and non-French musicians during this period, including the appearance of female performers, experiments with quarter-tone intonation, and the use of instrumental doubling. While the book does not provide much information on musical principles or techniques, it sheds light on the careers and experiences of the musicians documented. [Extracted from the article]

The article focuses on 250th death anniversary of Georg Philipp Telemann with variety of recordings of his oeuvre, with a focus on chamber music and informed performance as well as artistic practice that makes an equally valuable contribution to the repertory. It mentions François Lazarevitch presents the complete body of fantasias for flute, making use of manuscripts from the reserve collections of the Bibliothèque Royale of Brussels. It also mentions re-emergence of music.

A review is presented for several classical music albums, including "G. P. Telemann: Duette," featuring Dorothee Oberlinger and Lorenzo Cavasanti, "Telemann Fantasias for solo flute," featuring Christian Schickardt, and "Telemann and the Baroque gypsies," featuring the Ensemble Caprice under Matthias Maute.

A review is presented for several classical music albums featuring instrumental compositions by Johann Sebastian Bach and his family, including "Flute Sonatas by the Bach Sons," by Barthold Kuijken and Ewald Demeyere, "Bach: Arranging and Arranged," by The Bach Players, and "J.S. Bach: Sonatas for Flute and Harpsichord," by Mario Folena and Roberto Loreggian.

Discusses Johann Joachim Quantz's treatise on flute playing and music making in general, the `Versuch einer Anweisung die Flote traversiere zu spielen.' Qualities of a good instrumental or vocal performance; Note values; Distinguishing between principal and passing notes; Quantz's indications for inequality as well as for equality; Manuscript `Solfeggi pour la flute traversiere avec l'enseignement.'

The article reviews the music release "Nine sonatas for two transverse flutes without figured bass TWV40:141-49," by Georg Philipp Telemann.