Johann Adolph Hasse:
Cantata per Flauto in B Major for Alto

Calliope Tsoupaki:
Charavgi for Renaissance Alto

Jacob van Eyck:
Four Variations on Come again, sweet love doth now invite

Domenico Natale Sarro:
Concerto in d minore per Flauto

Adam Jarzębski:
Diligam Te Domine - Diminutions on Nasce la pena mia (Alessandro Striggio, ca. 1540–1592)
Venite Exultemus - Diminutions on “Io son ferito ahi lasso“ (Giovanni Pierluigi da Palestrina, 1525–1594)

Thorsten Töpp:
a due (2005)

Georg Philipp Telemann:
Concerto in C Major for Alto Recorder, Strings and basso continuo TWV 51:C2

Henry Purcell:
An Evening Hymn

“He who cannot sing / cannot play either”

This statement by Johann Mattheson is drastic but not entirely new. Throughout many centuries of musical history, prestigious and well-regarded musicians, composers and theorists have discussed and reinforced this topic – the relationship between the human voice and any musical instrument, between singing and playing. Why should one match the human voice in playing? For the sole purpose of being historically correct? After all, it is generally believed that music is the language that everyone understands…In it listening and understanding are, ideally, closely linked.

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Recording 04/2015 – Kulturhaus Reitstadl Neumarkt/Opf., Germany