London Baroque was formed in 1978 and is regarded world-wide as one of the foremost exponents of baroque chamber music, enabling its members to devote their professional lives to the group. A regular fifty or so performances a year has given the group a cohesion and professionalism akin to that of a permanent string quartet. The ensemble's repertoire spans a period from the end of the 16th century up to Mozart and Haydn, with works of virtually unknown composers next to familiar masterpieces of the Baroque and early Classical eras.
London Baroque continues to give vital and enriching performances with all the technical perfection and musical maturity their public has come to expect. They have performed in most of the major European festivals, and appeared frequently on TV and radio the world over. London Baroque is a regular visitor at the festivals of Salzburg, Bath, Beaune, Innsbruck, Utrecht, York, Bachwoche Ansbach and Bachwoche Stuttgart. London Baroque has appeared on television in England, France, Germany, Belgium, Austria, Holland, Spain, Sweden, Poland, Estonia and Japan.
Recording now for BIS (after a long and fruitful collaboration with Harmonia Mundi France) recent releases have received great critical acclaim; "Sympathetic and alert... with some finely poetic playing. These performances seem to me model." (Gramophone, Sept 2001) and "They have never made a better disc and neither have I heard a superior performance of any Handel trio sonata." (Goldberg, July 2001) -- both of their disc with Emma Kirkby of George Frideric Handel sacred cantatas. And of their release of Antonio Vivaldi Op. 1 trio sonatas; "London Baroque bring their customary virtues to these performances, including excellent internal rapport and blend, a richly mined string tone, passion and intensity." (Gramophone, March 2001).
With over twenty years under its belt, London Baroque enjoys the position of being one of the most experienced and long-lived baroque chamber groups around. London Baroque remains loved and appreciated by audiences as much today as twenty years ago. "We are used to the high standard of these players. The tireless variation of phrasing and dynamics of the individual parts, the perfectly coordinated agogic detail together with the highly imaginative approach lead to wonderfully lively music-making", (August 2001) -- as then -"... the performances were immaculately controlled, at all times a delight to the ear -- supple, flexible playing which touched the heights of virtuosity and the depths of emotion" (Financial Times, 1980).