Quantz wrote about 300 concertos and 200 chamber works for the flute, more than Vivaldi did for his instrument, the violin and, I venture to guess, more than anyone else for any one instrument. Of course there were two good reasons for it: he was the premier flute virtuoso of his time and was well paid for his duties as flute teacher (with a bonus for each work he wrote) to Frederick the Great at Sanssouci, where the establishment included C. P. E. Bach—who was far less well rewarded. The four concertos recorded here confirm the why of it: Frederick's musical tastes were conservative and better satisfied by Quantz, who only half-released his grip on the Baroque, than by the often wildly experimental Bach. Quantz, faithful to the four-movement format in his trio sonatas, followed Vivaldi's three-movement, fast-slow-fast example in his concertos. His flanking movements commonly feature five appearances of the ritornello, from the material of which the solo episodes develop; there is little of counterpoint or sophistication of any kind. The thematic material is more galant than baroque, and what there is of the latter is redolent of Vivaldi, not least in the Allegro assai of the G minor Concerto.
These straightforward concertos, 'music for pleasure' as it were, spring no surprises—which no doubt pleased the king, and should likewise please today's lovers of cultured 'easy listening'. Galway is at his engaging best, economical with his very personal vibrato, caressing in the slow movements and sprightly in the fast ones. The Wurttemberg CO, with the friendly sound of the harpsichord nicely audible in this well-balanced recording, share Galway's virtues in these luculent and stylish performances.'