Vivaldi's cantatas and serenatas are written in the style similar to those of Alessandro Scarlatti. Their backbone is a series of two or more da capo arias, with which recitatives alternate. In this programme, we have chosen the final aria, which is the most virtuosic for both voice and violin. Most of the cantatas are for solo voice (soprano or alto) and continuo alone, the favoured combination of the time. This one is quite unusual in having the violin part added as a kind of 'duet' with the voice. It is thought that Vivaldi sometimes wrote the poetic text himself, and is also suspected of having penned the sonetti dimostrativi - the poems in which the Four Seasons is based.

This sonata was almost certainly written for the women at the Ospedale della Pietà. Vivaldi was employed at this 'foundling hospital for girls' from 1703 as a violin teacher, and later on as the maestro de' concerti. At that time, Venice boasted four such hospitals, which were charitable institutions originally founded to receive orphaned (largely illegitimate)girls - often dumped at the doorstep - give them an education at the city's expense, and then, if possible, see that they were married when they reached a suitable age. Gradually, the Pietà became, to all intents and purposes, the best music school in northern Italy. Its atmosphere seems to have been gay and frivolous, even though the performers were always hidden behind latticed ironwork when giving concerts.

There has been much debate about the category to which Acis and Galatea belongs - Handel gave it no title in the autograph. During his lifetime it was advertised variusly as a Pastoral, and English Pastoral Opera, a Serenata, a Bucolic poem, or a musical entertainment. The one thing it emphatically is not is an oratorio, which always implied a sacred or at least a moral subject.

The simple plot comes from Book XIII of Ovid's Metamorphoses. The sheperd Acis and the nymph Galatea are in love, but Acis has a rival in the giant polyphemus, who pays clumsy court to Galatea. Though warned by the chorus of nymphs and sheperds, and despite the pleading of Galatea, Acis defies the giant. While the lovers pledge eternal faith, the furious Polyphemus kills Acis with a massive rock. The Chorus suggest to the disconsolate Galatea that she use her divine powers to make him immortal. She changes him to a fountain, and the chorus bid her dry her tears: he will flow on for ever, "murmuring still his gentle love".

This version for soprano and harpsichord is adapted from the original orchestral version. Who knows what Handel would have thought of this, but one thing we do know for sure, is that Handel was a very practical man, and often adapted his own works to the particular needs and purposes of a performance or performer.

It is often overlooked that while Handel made huge contributions to opera, oratorio, and other such large-scale forms, he also left behind a huge amount of extremely good solo harpsichord music. He was, after all, one of the greatest virtuosi of his age!

The most important volume among his printed collections of keyboard music is Handel's own issue of Suites de Pieces pour le Clavecin … Première Volume, which appeared in November 1720. In a preface Handel explained that he had been 'obliged to publish some of the following Lessons because surrepticious and incorrect copies of them had got abroad'. The Allemande comes from this collection.

This is one of the most extraordinary, and most famous 'ghosts' of the violin-player's repertory. In fact, nobody really knows who composed it, though it has been attributed to the violinist Vitali (a northern Italian composer about whom very little is known other than his obvious skill as a performer and fame as a teacher amoungst his contemporary compatriots) since the 18th century.

The piece itself is based on the very simple repeating chaconne bass (usually consisting of 4 descending notes) but takes us on a long and convoluted journey through a most bizarre selection of unrelated tonalities. The effect is a wonderfully varied showcase of violinistic and compositional tricks which is guaranteed to keep you on the edge of your seat!

The is one of only two surviving violin sonatas by J.S. Bach. The famous 'obbligato' sonatas which are more often performed are in fact duets for harpsichord and violin. This sonata is termed a 'continuo' sonata because the violin is the real soloist and is accompanied by the continuo instruments (usually harpsichord and 'cello)

With this wonderful little piece, Bach has created a perfect example of the baroque sonata with the four movements alternating slow-fast-slow- fast (like Corelli), and beautiful singing lines in the violin part.

Bach has, however added his own unmissable touch - an incredibly detailed and beautiful bass line. It is in this respect that he differs most from the 'average' baroque composer - one could almost listen to the bass part alone, it is so masterfully crafted.

In this extract from the first Adagio, you can see the 'figures' above the bass line. These indicate the different harmonies. Already in the first two bars he changes chord 15 times!