Reviewing a recent CD containing among other things a suite by Christoph Graupner for recorder and strings (Dacapo, A/13), I reported that it was in the lightly elegant style of Telemann but without the same wit or personality. Maybe I was being hasty, for now the Graupner gods, like a politely corrective writer to the Gramophone letters page, have magicked my way a whole disc of orchestral suites by this composer, famously rated behind Telemann but above Bach by the Leipzig town council selection board for the job of Thomaskantor in 1723.

And yes, there is more of interest here, the vital new ingredient being colour. Graupner spent the entire period from 1711 until his death in 1760 as Kapellmeister to the court at Darmstadt, and the booklet-notes suggest that the frequency of unusual instrumental combinations in his suites – the three leisurely paced examples recorded here feature roles for flute, viola d’amore, chalumeaux and horns gambolling with the strings in various amicable relationships – may be a reflection of local conditions and availabilities. Whatever it was, it seems on this evidence to have drawn from Graupner music of individuality and character; it is not often that you will hear a silvery viola d’amore duetting with stealthily striding bassoon (GWV458) or a fandango-tinged Menuet for flute and viola d’amore with a pair of gently cooing chalumeaux (GWV451). Movements such as these are full of grace and charm, but Graupner can also stamp his feet, as in GWV450’s boisterous Air en Polonese and the Tempo di Bourrée of GWV458.

The performances by the Finnish Baroque Orchestra are exemplary, the mood benign and unhurried to match the music, and every player of every unusually featured instrument – led by the smooth viola d’amore of Sirkka-Liisa Kaakinen-Pilch – calmly taking their opportunity to make a colourful contribution while remaining firmly part of the team.