For Wilbert Hazelzet’s second disc for Glossa, the stylish Dutch flute player covers a selection of pieces of music by composers who, with varying levels of certainty, can be regarded as having been pupils of Johann Sebastian Bach: Abel, Kirnberger, Krebs, Müthel and Goldberg – whose C major Sonata was for a long time regarded as being by Bach himself (as his BWV 1037). Cellist Jaap ter Linden and harpsichordist Jacques Ogg accompanied Hazelzet on this beautiful recording.

Even those who may be unfamiliar with his music will likely recognize Johann Goldberg's name in association with J.S. Bach's famous Goldberg Variations, the story behind which is so speculative as to not bear repeating here. Goldberg was in fact a student of the elder Bach's as well as W.F. Bach. So similar was Goldberg's early use of counterpoint, texture, and chromaticism to his teacher's that one of the trio sonatas heard on this album – the one in C major – was actually listed for many years in the BWV as being by Bach. Regrettably for listeners, Goldberg died before his 30th birthday; like Brahms, he was his own worst critic and destroyed copious amounts of his own compositions.

The closing disc in London Baroque’s survey of the rise and fall of the trio sonata takes us to 18th-century Germany, and includes works by no less than two Johann Gottliebs: Johann Gottlieb Goldberg – who rose to posthumous fame by being associated with J.S. Bach’s celebrated set of variations – and his namesake Johann Gottlieb Graun, violinist and composer at the court of Frederick the Great. Next to them in the list of contents are also more familiar names, such as Graun’s colleague at the Prussian court, C.P.E. Bach, and the ubiquitous G.Ph. Telemann, here represented with an unusually scored trio for violin, gamba and basso continuo. The programme straddles the divide between late Baroque and Classical music, and several of the included works point clearly at what was to come.