I cannot say for sure how many first recordings there are on this disc but the chances are that you will find few of these works elsewhere. Interest in the Baroque oboe band has usually fallen on repertoire from France (where developments in oboe- and bassoon-making led to the first ensembles of such instruments in the 17th century), supplemented by a sort of “knock-on” dabbling in English theatre music which mimics the French style. Less attention has been paid to examples from Germany, however, despite the fact that French influence there was no less strong. Here is proof that we have been missing something.

As is often the case with this repertoire, the performers have had to be a little creative – the suite by Johann Fischer recorded here is taken over from a piece for string orchestra, the Partie by Telemann is an arrangement by an anonymous contemporary of an oboe sonata from his Kleine Cammer-Music, and informed guesswork has been necessary to identify the instruments Fasch intended by the terms “oboe de Silve” (oboes da caccia?) and “Chalcedon” (bassoon?) – but the sonatas by Johann Michael Müller and the concerto by Christoph Förster are genuine originals. All are works of attractiveness and quality, and if the better-known Telemann and Fasch predictably emerge as showing the greatest accomplishment and individuality (Fasch’s Concerto contains a rather lovely and graceful Air), the other composers certainly merit their moment in the spotlight – the lively Müller especially.

In this, their debut recording, the 10‑piece Lingua Franca give performances in which expert ensemble-playing, a reliable feel for style and a warm, soft-edged sound happily combine to offer the listener a relaxing and rather mellow pleasure – like smoking one of those old long-stemmed pipes, perhaps.