The rapid evolution of the solo concerto for the recorder can be traced through the eight fine examples brought together in this collection, from the sheer virtuosity of Vivaldi through the Concerto Grosso style of Alessandro Scarlatti, to the elegant, stylish musicality of Sammartini and Naudot.

These concertos demonstrate an ingenious variety of approaches to one inherent musical problem - how to balance the soft, non-dynamic tone of the recorder with an orchestral accompaniment.

The frequently favoured techniques are to use either upper strings or continuo to support the recorder, but these are seldom used together. Vivaldi employs muted strings in the F major concerto (RV 442) and both he and Sammartini use higher-pitched instruments for greater volume and clarity.