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There were two principal types of concerto in the late Baroque era — the Corellian and the Vivaldian — but this program begins with two concertos that don’t fit into either mold.  Telemann, who wrote more than 100 concertos, was partial to a four-movement form resembling the “church sonata,” which began with a slow movement.

The Concerto in D that opens the program is written in five parts — the title page of Telemann’s manuscript says “Concerto á Flauto traverso concert[ato], 2 Violini, Viola et Cembalo — so although the flute is in frequent dialogue with the first violin, there is no “solo” violin part.  If the Concerto is played with more than one violin to a part, it looks like a concerto for solo flute (rather than a concerto for flute and violin soloist), and it is sometimes described that way.