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Besides their stylistic eclecticism, Telemann's double flute concertos are noteworthy for being among the earliest works of their kind. Quantz tells us that there was relatively little music for the flute in Germany around 1720, so the idea of writing a concerto for two solo flutes must have been quite novel. What is more, the fact that there are six concertos, all in a similar style and following a rational constellation of keys (G/e, D/b, and A/a), suggests that Telemann conceived them as a set, perhaps with an eye toward publication. Finally, a few remarks on performance. The practice adopted here of using single string instruments for each "orchestral" part is one that was common in the eighteenth century. In fact, surviving sets of performing materials from German courts indicate that concertos were most often performed in this way. This was true even of the relatively opulent Dresden Hofkapelle, which included eight violinists in 1719. Although Telemann specified on the composing scores of the D-major, E-minor, and B-minor concertos that the flutes should be accompanied by mandora (or "calchedon," a six-stringed bass lute developed in Germany during the late seventeenth century), the bassoon is substituted here. Such an option is sanctioned by the composer in the D-major score, and in fact all eighteenth-century copies of the double flute concertos specify bassoon-presumably because the mandora, on which Telemann was himself proficient, was an uncommon instrument. - Steven Zohn The Hanoverian Ensemble is a group of distinguished musicians who specialize in historical performance on period instruments. Their programs feature the great music of the Baroque and Classical eras, performed with an expertise garnered from many decades of concert and recording experience. Programs involve from four to ten players, depending upon the repertoire. The ensemble's name evokes the time of the Hanoverian kings of England (1714-1837). John Solum, flutist, made his debut as soloist with the Philadelphia Orchestra and has since appeared as soloist and chamber music player in 37 countries. He is internationally known for his recordings of more than 80 works for flute and has appeared at major music festivals throughout the world. His many editions of music are published by Oxford University Press. Richard Wyton, flutist, made his professional debut at the age of twelve, singing a role with the New York City Opera. As a flutist he has performed coast-to-coast on both modern and historical instruments at universities and concert societies. He has appeared as soloist on National Public Radio and has recorded for Arabesque, CRI, Epiphany, Innova and Music Minus One. Thomas Sefcovic, bassoonist, is a member of the Orchestra of St. Luke's and also has performed with the Orchestra of the Eighteenth Century, Concert Royal, the Handel and Haydn Society, Philharmonic Baroque Orchestra, Smithsonian Chamber Players, American Composers Orchestra and the New York Philharmonic. He has recorded on many European and American labels. Robert Mealy, violinist, is a member of Fortune's Wheel, the King's Noyse and Spirit us. He performs regularly with the New York Collegium, Early Music New York, and Artek. He has recorded over 50 compact discs of early music on most major labels. He is instrumental director of the Yale Collegium and directs the Harvard Baroque Chamber Orchestra. Claire Jolivet, violinist, performs on both modern and baroque violin. She is a member of the Four Nations Ensemble and plays regularly with Concert Royal, the New York Collegium, the Violins of Lafayette, Sarasa, Lyceum and Ars Antiqua. She has recorded on the Deutsche Harmonia Mundi and ASV-Gaudeamus labels. Monica Gerard, violist, has performed with the Brooklyn Philharmonic, Orchestra of St. Luke's, American Composer's Orchestra, New Orchestra of Westchester and the New Jersey Symphony. Her performances with early music groups include Concert Royal, Philomel, Hesperus and the Eighteenth Century Ensemble. She has recorded for Arista and MSR records. Arthur Fiacco, cellist, maintains an active career on both historical and modern instruments. His period-instrument performances include the Mostly Mozart Festival at Lincoln Center, Concert Royal, Four Nations Ensemble, and Grande Bande and Helicon Foundation. He has recorded for EMI, MGM, RCA, ECM, Columbia, Sony, and Newport Classics. Melanie Punter, violone, is a member of the Orchestra of St. Luke's and is principal bass of the Tallahassee Symphony and Dance Theater of Harlem. She has performed with the American Symphony, the Opera Orchestra of New York, Joffrey Ballet, New York City Ballet, American Ballet Theater. She is on the faculty of Florida State University and the Sewanee Summer Music Festival. Kent Tritle, harpsichordist, is Director of Music Ministries at St. Ignatius Loyola Church in New York City. He is organist of the New York Philharmonic and the American Symphony and performs frequently as guest artist with the Chamber Music Society of Lincoln Center. He is on the faculty of the Juilliard School and was music director of the Dessoff Choirs from 1996-2004.