Etcetera’s title of ‘Complete Cantatas, Op. 4’ is misleading. This two-CD reissue contains only the complete set (of 12) that appeared in his lifetime – several dozen more are extant. Published as his Op. 4 in Venice in 1702, these chamber cantatas are typical Baroque ‘languish ’n’ anguish’ love laments, six scored for solo soprano voice, six for solo alto. They are beautifully sung by Barbara Schlick and Derek Lee Ragin but, a handful of poignant arias apart, Albinoni’s music generally lacks the melodic and harmonic invention required to sustain over 90 minutes of protracted pastoral complaint. Graham Lock
During the eighteenth century music publishers, and occasionally composers themselves, adapted sonatas originally intended for string instruments, for wind instruments. The adaptation of Albinoni's violin sonatas for woodwind instruments has a historical precedent set by one of the great musicians of the French Baroque. The composer, flautist, bassoonist, gambist and instrument maker Jacques Hotteterre Le Romain (c. 1680-1761) adapted some of Albanian's violin sonatas for the flute….
...Ton Koopman is an exclusive artist of the Time-Warner organization for which he is recording the complete cycle of the sacred and secular Cantatas of J.S. Bach as well as the integral of the works for organ. The organ recordings have been completed in July 1999. The cantatas will be completed in 2004. In September 1997 Ton Koopman was rewarded the Deutsche Schallplattenpreis "Echo Klassik 1997" for the Bach Cantatas...Ton Koopman (Conductor, Harpsichord, Organ) - Short Biography