It was probably the Amsterdam publisher Michel-Charles Le C�ne himself, Antonio Vivaldi end of the 1720s asked after the remarkable success of twelve concerts Op.8...

It was probably the Amsterdam publisher Michel-Charles Le C�ne himself, Antonio Vivaldi end of the 1720s asked after the remarkable success of twelve concerts Op.8 to write him another collection of concerts, this time for the transverse flute. Vivaldi had the instrument Although already in his chamber concerts, as well as, inter alia, in the opera "Orlando" RV 728 (1727) used, but until then he had apparently still not composed original concertos for the instrument. As Le C�ne turned to the composer, this was due to concert tours and opera productions hardly the time, entirely new art of writing well. Instead, he reached for the five concerts back on their own chamber concerts and revised it radically. The six concerts Op.10 (printed 1728) thus among the earliest published concert ante works for the then relatively new flute. They also include (especially the first three concerts with the programmatic titles "The Sea Storm", "The Night" and "The Goldfinch") today undoubtedly the most popular Baroque concertos. If two grandmasters of historical performance practice as Barthold and Sigiswald Kuijken accept this works, then not only an excellent played recording, but also with radio knowledge and insights are guaranteed that new aspects of these works illuminate without having to resort to fashionable antics.