For its authentic instrumental timbres, exquisite period interpretations, superbly engineered sound, and, above all, the sheer genius of the music, this album of Handel's recorder trios and sonatas is guaranteed to please connoisseurs of Baroque chamber music, and should catapult Dorothee Oberlinger and her handpicked Ensemble 1700 into international celebrity. A debut release for these exceptional musicians, this remarkable CD reveals both their scrupulous scholarship and enthusiastic participation, and the combination is winning. Oberlinger plays the recorder with a lucid but modest tone, never upstaging the other players but creating an impression of domestic intimacy that surely attended amateur performances in the eighteenth century.

The four compositions on this disc may be rather well-known, but Telemann aficionados who have them already on disc should still consider this new recording. The contrasts between the various styles are strongly emphasized. In particular the folk music elements are given much attention. In some recordings these are a little smoothed down, but here they are presented in all their 'barbaric beauty'. It results in these performances being pretty exciting. There is not a dull moment here, thanks first of all to Telemann, but also thanks to the performers who explore every detail in the scores.

Ausgezeichnet mit einem Echo Klassik 2008 als »Instrumentalistin des Jahres« begeistert die Meisterin der Blockflöte immer mehr Menschen für dieses Instrument. Und in den Medien nicht nur die Fachpresse. Die Zeitschrift Brigitte etwa schrieb über sie: »Dorothee Oberlinger spielt mit einer Virtuosität und Bandbreite an Klangfarben, wie man sie niemals von diesem Instrument erwartet hätte.« Auf ihrer neuen CD präsentiert die Künstlerin Werke von Telemann, begleitet vom Ensemble 1700. In Telemanns außerordentlich umfangreichem Werk findet sich ein großes Repertoire für Blockflöte. Die hier eingespielten Werke, eine Solofantasie sowie Solo- und Triosonaten, stellen einen exemplarischen Ausschnitt aus Telemanns Flötenkammermusik dar und spiegeln die gesamte Bandbreite seines kompositorischen Schaffens wider.

"The Passion of Musick" heißt eine Fantasie des schottischen Soldaten und Komponisten Tobias Hume, die der neuesten CD der Blockflötistin und mehrfachen Echo Klassik-Preisträgerin Dorothee Oberlinger ihren Namen gab. Mit ihrem Ensemble 1700, dem Ausnahmegambisten Vittorio Ghielmi und seinem Gambenquartett »Il Suonar Parlante« gewährt Oberlinger Einblicke in die vielfältige »Private musick«, die in den unruhigen Zeiten im England des 17. Jahrhundert in eleganten Salons, aber auch in Pubs und Gasthäusern erblühte. Auf der Suche nach dem vielfältigen und farbenreichen kammermusikalischen Repertoire dieser Zeit folgen die Musiker dabei auch der Fährte, die die traditionelle, keltisch geprägte Musik im barocken Kunststil Englands, Schottlands und Irlands hinterlassen hat und zeichnen ein vielfältiges Bild der Musizierpraxis der Zeit mit Werken von unter anderem Tobias Hume, Henry Purcell, Nicola Matteis, Orlando Gibbons und Matthew Locke.

Dorothee Oberlinger brought another musical treasure to light last year at the Potsdam Music Festival. "I Portentosi Effetti della madre Natura by Giuseppe Scarlatti had its premiere in the then brand-new Palace Theatre of the New Palace in Sanssouci - with resounding success. Some 250 years later, the work, which stylistically seems to have been written five minutes before Mozart, with a mix of great seria arias and rousing folk echoes, experienced its celebrated resurrection as a production of the Musikfestspiele Potsdam Sanssouci with the Ensemble 1700 and singers under the artistic direction of Dorothee Oberlinger. The production accompanying the performances will now be released as a world premiere recording on 9 June as a co-production with Musikfestspiele Potsdam and rbb Kultur on the deutsche harmonia mundi label.

The acclaimed recorder player Dorothee Oberlinger and her ensemble 1700 team up with famous countertenor Andreas Scholl for this inspiring new album featuring the work of J.S. Bach. The album includes arias from Bach cantatas for alto, a concerto for harpsichord arranged for flute, the cantata BWV 170 “Vergnügte Ruh” and the famed Brandenburg concertos No. 2 and No. 4. Dorothee Oberlinger is one of the most amazing discoveries of recent years, an expressive virtuoso who - quite rightly - received numerous awards while still very young.

The serenata Polifemo opens with an overture for which Bononcini adopts the formal model of the two-part French ouverture in which a slower section with dotted rhythms is followed by a quicker section often involving fugal textures. Bononcini combines his French model with the Italian concerto principle with its multiple choirs of instruments: here the wind ensemble alternates in the quick section with the strings. Although it is in only one act, Polifemo is made up of no fewer than twenty musical numbers: seventeen arias, two duets and one chorus. With a single exception, these numbers are cast in da capo form. Some have no instrumental prelude, whereas eight end with a postlude described as a “ritornello”, with elaborately worked-out parts for the instrumentalists. These postludes presumably allowed preparations to be made for the following action.

The new recording by recorder player Dorothee Oberlinger with violinist and countertenor Dmitry Sinkovsky shows the musical turn of time from the Renaissance to the Baroque in a kaleidoscope of newly conceived, experimental declamatory music by Italian masters, who for the first time expressed passions such as love and hate, grief and joy, astonishment and longing in music to the fullest.