Florilegium’s recent explorations into Baroque Bolivia have yielded captivating discoveries but the ensemble still has plenty more to say about what was going on in Hamburg and Leipzig in the early 18th century. The relationship between Florilegium and Telemann has been described in these pages as a marriage made in heaven and there is further evidence of such a close affinity in their delectable performance of the Concerto in A major from the first part of Telemann’s epic Tafelmusik collection (published 1733). The cello and harpsichord continuo play with the perfect balance of zest and tastefulness in the Allegros, and the five violinists play with tenderness and elegance in the central Gratioso. As in their performance of Bach’s Triple Concerto in A minor (BWV1044), Florilegium’s players possess an admirable sense of proportion and balance, not least with Ashley Solomon’s flute sparkling with clarity while often gently within the overall balance rather than swamping it.

The attribution of the secular Italian cantata Non sa che sia dolore to Bach has been doubted by some scholars. Nothing is known of the peculiar piece’s date and purpose, but its libretto was cobbled together from Guarini’s famous poem Il pastor fido and opera texts by Metastasio. It seems to address a young man about to embark on military service and appears to have some connection with the Italianate court at Ansbach. Curious Bachians will find things to enjoy in the Sinfonia and two arias, with Solomon’s assured and light playing complemented by Lucy Crowe’s sincere and stylish singing.