Hobo-concerten uit de opus-sets 7 en 9, de eerste opnamen op periode-instrumenten. "Albinoni treats the oboe like a voice (another wind instrument), writing in mainly conjunct lines, whereas Vivaldi (whose oboe works were written at about the same time) has the agile violin more in mind. There isn't one 'filler' in either set, which means that there isn't one in the programme either, and the slow movements have tunes that stay in the mind. Anthony Robson seems set to become the 'new David Reichenberg', velvet-toned but with the hint of an edge (matching that of the strings), phrasing flawlessly and alert to lyricism and poetry where they appear over the parapet. Collegium Musicum 90 are one of the very best baroque bands to emerge in recent years and here they are in their element. The recorded balance is just right, keeping soloist and strings in equal perspective. In every good sense these are listener-friendly works, and this recording bids strongly for a place on every shelf." (Gramophone, 1995)
"Albinoni might be described as a specialist in the medium of the Concerto a cinque, of which he composed 54 under five opus numbers, published at intervals during almost half of his productive life. They were 'halfway houses' on the road to the violin concerto as we know it, as Vivaldi established it four years later. Virtuosic passages for a solo violin appear only en passant in flanking movements and 'symmetrically' in the Adagios of Nos 3, 6, 9 and 12. Each Concerto is in three-movement form and all the finales are fugal, though in their simplicity they sound rather like rondos. There was little by way of innovation in Albinoni's concertos, but the lyricism of the Adagios of No 2, 5, 8 and 11 (again symmetrically placed) was indeed new. Their strength is in his gift of melodic, invention, their clearly defined form and thematic material, their conciseness and their vitality and freshness. The recording and performances are of the highest standard." (John Duarte, Gramophone, 2001) Zie ook Classics Today.
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