TELEMANN, Georg Philipp (1681-1767)
Concerto à Flauto traverso, Viola di gamba, Fargotto e Cembalo TWV 43:C2
1.	Grave	2:21
2.	Allegro	2:25
3.	Largo	1:52
4.	Vivace
KRESS, Georg Philipp (1719-1779)
Trio à Flauto traversieur, Viola d'amout col Basso Continuo
5.	Adagio	1:36
6.	Vivace	2:17
7.	Siciliana	1:44
8.	Vivace	1:41
BACH, Carl Philipp Emanuel (1714-1788)
9.	Arioso per il cembalo e violino	6:32
TELEMANN, Georg Philipp (1681-1767)
Sonata à Flauto traverso, due Viole di gamba et Cembalo TWV 43:G12
10.	Dolce	3:49
11.	Allegro	3:25
12.	Soave	3:10
13.	Vivace	4:34
TELEMANN, Georg Philipp (1681-1767)
Fünfzehnte und Sechzehnte Lection des Getreuen Music-Meisters, 1728. Viola di Gamba, senza Cembalo TWV 43:G12
14.	Andante	2:52
15.	Vivace	1:43
16.	Recitatif	1:26
17.	Arioso, Andante	1:43
18.	Vivace	2:53
KRESS, Georg Philipp (1719-1779)
Trio à Faluto traverso, Viola di gamba e Cembalo
19.	Vivace	2:38
20.	Cantabile	2:43
21.	Vivace	2:14
BACH, Carl Philipp Emanuel (1714-1788)
22.	Fantasia sopra Jesu meines Lebens Leben	6:44
TELEMANN, Georg Philipp (1681-1767)
Sonata à 4. Flauto traverso, due Viole di gamba et Cembalo TWV 43:G10
23.	Vivace	3:32
24.	Andante	2:50
25.	Vivace	4:15

Classic FM Magazine, October 2006***** out of 5
Beautifully recorded and consummately played, this stunning collection of chamber music by Kress, Telemann and CPE Bach, is one of my discs of 2006. Julian Haylock

Gramophone, October 2006 - Awards issue
Matching skills to works makes Charivari Agréable so agreeable
As ever, Charivari Agréable demonstrate their determined ingenuity in finding and adapting music based around their core line-up of viol and continuo; all the pieces here feature either one or two viols, their mellow bass sonorities offset by a flute, but only half include viol in their original designated scoring. One hardly imagines that Telemann would have minded this expediency, however, while for listeners today such willingness to renew and rethink repertoire is one of the constant pleasures of Baroque music.
Here we have three typically delightful quartet sonatas and a sonata for solo viola da gamba by Telemann alongside works by two of his godsons: CPE Bach, represented by a dapperly turned harpsichord "Arioso" with lightweight gamba accompaniment, and a distinctly JS-like chorale fantasy; and Georg Philipp Kress, a new name to most no doubt, but the composer here of two pleasant if underwhelming trio sonatas.
Charivari Agréable offer tasteful and well behaved performances whose gentle sound contrasts interestingly with the more firmly chiselled and urgent readings of two of the Telemann quartets released last year (with violins instead of viols) by Musica Antiqua Köln (Archiv, 11/05). It is a comparison that leaves, say, the first movement of G12 sounding sedate, if not downright dawdling, in Charivari's hands, but some listeners may well appreciate the latter's preference for grace over high energy. Even so, a little more focus to the balance would have been welcome, and Rachel Moss's flute-playing needs to find a touch more overall refinement. No niggles about Susanne Heinrich's account of the Telemann solo sonata though, which in its vigorous musicality is first-rate. Lindsay Kemp

BBC Music Magazine, October 2006Performance **** out of 5, Sound ***** out of 5
Charivari Agréable presents here an unusual programme in which Telemann's music is interspersed by that two of his godsons. Far and away the more famous of them is Bach's second musically talented son, Carl Philipp Emanuel, who followed in his godfather's footsteps as Hamburg's Director musices. The other, Georg Philipp Kress, is now but the faintest of shadows and indeed may never have been otherwise. Charivari Agréable convey the fragile, never more than skin-deep charm of his Flute Trios with lightly applied articulation and an appropriate espirit de salon. These virtues, along with a marked elegance of phrasing, are features which define the performing style of this ensemble.
There is a pleasing energy in this playing which is also supple, fluent and idiomatic. The nfast movements of Telemann's two fine G major Quartets for flute, two viole di gamba and harpsichord, more effective in this scoring than in Telemann's alternative suggestion for flute and two violins, offer persuasive examples of what I mean. Nicholas Anderson