Though Johann Kirnberger does not appear to have been of the inner circle, the Allegro of his Symphony in D which opens this well-planned concert embodies the very spirit of the carefree palace. Not that Sanssouci was ever quite that, as Voltaire discovered having risked once too often a verbal nonchalance on the subject of military matters, which were still of prime importance to his host when not playing the flute. Frederick’s delight in that instrument was assiduously looked after by Kammermusicus Quantz, also well represented here. The Flute Concerto in G is probably one of many (he reputedly wrote some 30 flute concertos and no doubt several are in G major), but it is a pleasing specimen, with a jolly first movement, a still more jovial third, and, in between, one of those adagios which the King is said to have played so well. C. P. E. Bach, best but not most highly valued of the court composers, provides an oboe concerto, the opening allegro scurrying about and taking full advantage of being the only movement not to have an inhibiting ma non troppo attached. Interspersed are some arias from the operas of C. H. Graun, including one from Rodelinda, the first of his 26.

Natalie Stutzmann sings these with a voice to cause a fair degree of souci among the chandeliers. Her deep contralto has a full-bodied resonance, sumptuous in quality and proficient in the trill. The concertos have admirable soloists, the period instruments bringing both delicacy and strength. Roy Goodman’s Hanover Band convey a sense of enjoyment in their playing and are keenly alert to the rhythmic liveliness of their music.

-- Gramophone [11/1997]