Thomas Stacy, the New York Philharmonic's English horn player, turns to the instrument's relative, the oboe d'amore, with four delectable concertos for that instrument by...

Thomas Stacy, the New York Philharmonic's English horn player, turns to the instrument's relative, the oboe d'amore, with four delectable concertos for that instrument by Buxtehude and Bach. The sheer sound of the instrument, especially when played by an artist of Stacy's caliber, is irresistible, darker than an oboe and more rounded and textured than an English horn, making the gently lilting Adagio of Telemann's G major concerto a ravishing listening experience. Stacy's juicy tone also enhances these performances of the Bach works, reconstructed from the master's harpsichord concertos, themselves recyclings of cantata movements.

The soloist's entry in Bach's A major concerto exploits the rounded timbre of the instrument's lower register, and in the Larghetto, an aria in all but name, we hear its full range sung with beauty. A highlight of the Bach D major concerto is the haunting Siciliano, again an example of the instrument's warmth that draws the listener deep into the music.

Stacy is well-supported by the Toronto Chamber Orchestra led by Kevin Mallon, a capable 15-player modern-instrument ensemble, and the engineering is quite good though greater prominence could have been given to the continuo. Wonderful music brilliantly played. What more could one ask for? A bit more oomph would help. Tempos are always moderate, so the Vivace finale of the Telemann G major never kicks its heels with the necessary abandon, nor do the Allegros have the last measure of requisite swing. And while slow movements are drop-dead gorgeous, ears used to current period-instrument performances may wish for tempos that flow a bit more easily. But such carpings quickly dissipate in the listening. This is one of those CDs that threatens to take permanent occupancy of your CD player.

--Dan Davis, ClassicsToday.com