1	Concerto No. 1 in G major (Concerti Armonici): Grave			
2	Concerto No. 1 in G major (Concerti Armonici): Grave. Staccato			
3	Concerto No. 1 in G major (Concerti Armonici): Allegro			
4	Concerto No. 2 in B flat major (Concerti Armonici): Largo andante			
5	Concerto No. 2 in B flat major (Concerti Armonici): Da Capella. Presto			
6	Concerto No. 2 in B flat major (Concerti Armonici): Largo affettuoso			
7	Concerto No. 2 in B flat major (Concerti Armonici): Allegro moderato staccato		
8	Concerto No. 3 in A major (Concerti Armonici): Grave			
9	Concerto No. 3 in A major (Concerti Armonici): Largo andante			
10	Concerto No. 3 in A major (Concerti Armonici): Vivace			
11	Concerto No. 4 in G major (Concerti Armonici): Largo			
12	Concerto No. 4 in G major (Concerti Armonici): Da Capella. Non presto			
13	Concerto No. 4 in G major (Concerti Armonici): Largo affettuoso			
14	Concerto No. 4 in G major (Concerti Armonici): Allegro			
15	Concerto No. 5 in F minor (Concerti Armonici): Adagio			
16	Concerto No. 5 in F minor (Concerti Armonici): Da capella			
17	Concerto No. 5 in F minor (Concerti Armonici): Con sordini			
18	Concerto No. 5 in F minor (Concerti Armonici): A tempo giusto			
19	Concerto No. 6 in E flat major (Concerti Armonici): Affettuoso			
20	Concerto No. 6 in E flat major (Concerti Armonici): Presto			
21	Concerto No. 6 in E flat major (Concerti Armonici): Vivace

Combattimento Consort Amsterdam
Jan Vriend – conductor

Who was the composer of the six highly enjoyable concertos to be heard on this CD? They were attributed first to Ricciotti, then more recently to Pergolesi. Musicologists have long pondered the unknown identity of the composer, particularly since Ricciotti though well known as an Italian publisher/violinist, had not himself composed any music. It was the Dutch musicologist Alfred Dunning who solved the mystery in 1980 when he was exploring the library in the Wassenaer family castle at Twickel in the Netherlands. Here he discovered the scores for six concertos, with a foreword by the composer which answered the two questions which had long puzzled musicologists: who had composed these concertos, and why had the composer not identified himself. Indeed the foreword revealed that the composer had deliberately concealed his identity. Dunning's researches are documented in his publication Count Unico Wilhelm van Wassenaer. A master unmasked, or the Pergolesi-Ricciotti puzzle solved. Dunning quotes the composer's foreword in full.

Score of my concertos, engraved by Signor Ricciotti. These concertos were composed at different times between 1725 and 1740. When they were ready, I took them along to the musical gathering organized in The Hague by Mr Bentinck, myself and some foreign gentlemen.

Ricciotti played the first violin. Afterwards I allowed him to make a copy of the concertos. When all six were ready, he asked permission to have them engraved. Upon my refusal he enlisted the aid of Mr Bentinck, to whose strong representations I finally acquiesced, on condition that my name did not appear anywhere on the copy and that he put his name to it, as he did. Mr Bentinck wanted to dedicate them to me; I refused absolutely, after which he told Ricciotti to dedicate them to him. In this way these concertos were published against my wishes.

Some of them are tolerable, some middling, others wretched. Had they not been published, I would perhaps have corrected the mistakes in them, but other business has left me no leisure to amuse myself with them, and I would have caused their editor offence.

The true identity of the composer is thus established beyond doubt, together with the reason for the anonymity and resultant confusion: simple modesty on the part of the author! But what modesty... Listen to this music for yourself - it is uniformly pleasing, and very frequently arresting with its unusual turns of harmony and flights of counterpoint. No. With respect Count Unico Willem, they are always more than tolerable, and at times outstanding. --- baroquecds.com

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Count Unico Wilhelm van Wassenaer: 

1  Concertino Armonico no.3 in A    9:15
    grave assai sostenuto - da cappella (alla breve): presto - largo: andante - vivace
2  Concertino Armonico no.5 in B    9:37
    largo: andante - da cappella (alla breve): presto - adagio affettuoso - allegro moderato
3  Concertino Armonico no.4 in f    9:56
    adagio - da cappella (alla breve): presto - a tempo commodo - a tempo giusto
4  Concertino Armonico no.6 in Es    8:53
    Affettuoso - presto - largo – vivace

Kammerorchester Berlin 
Helmut Koch - director
Robert Köbler - harpsichord


Giovanni Battista Pergolesi: 

5  Flute concerto in G    11:58
    spiritoso - adagio - allegro spiritoso

Johannes Walter, flute;
Kammerorchester Berlin 
Helmut Koch - director
Robert Köbler - harpsichord

6  Flute sonata in D    8:32
    amoroso - allegro moderato - grave – presto

Johannes Walter - flute 
Ilsa Brähmer - harpsichord 
Ernst-Ludwig Hammer - viola da gamba

In 1908 the Library of Congress in Washington purchased a nineteenth century copy of the concertos now renamed as Concertini and attributed to Pergolesi. In 1979 the musicologist Albert Dunning was dining with a party of Dutch art historians. After a chance remark concerning the Concerti armonici a fellow diner mentioned how he had just come across several musical manuscripts while making an inventory of the contents of the Twickel castle in The Netherlands. Dunning tracked down what turned out to be the Concerti armonici in the hand of Count Unico Wilhelm van Wassenaer. The musical world can be thankful to him for his tireless efforts in this regard.

The six Concerti armonici are difficult to classify into any genre. As we have seen Unico Wilhelm van Wassenaer took in many influences throughout his life and Grand Tour. The tone is undoubtedly Italian, in the tradition of Corelli, but it is the variation of style between movements that sets the Concerti armonici apart. Unico Wilhelm had an obvious understanding of texture and may have refined these compositions over years. Were they party pieces for himself and the violinist Ricciotti? These works are concertos for four violins, with the first and second violin parts shouldering much of the musical burden, but what also sets them apart is that as well as the four violin parts, the texture can rise to seven-part writing with equal parts also for the viola, obbligato cello (track 3) and continuo. The style is often a mixture of late baroque or Galant (track $) and early baroque in the style of simple fugues. In the manuscript the composer frequently writes notes to himself. Of the third movement of the first concerto he writes: ‘Ce morceau est un peu trop long’, and of the last movement of the second concerto: ‘L’allegro suivant est trop uniforme’. This suggests that Unico Wilhelm van Wassenaer was not just a part-time musician, but a serious composer, a matter that may be left to the listener to discover for himself. --- naxos.com

The Flute Concerto represents one of the few examples of Pergolesi’s instrumental compositions—if, indeed, Pergolesi wrote the work; musical scholarship is uncertain about its origin. Its style and structure are still very close to those of the operatic stage. --- hyperion-records.co.uk

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