In writing his innovatory 23 concertos for groups of three to six mixed soloists and basso continuo, Vivaldi anticipated a British tradition; what he 'invented' was mainly developed abroad—in Germany and France, often disguised as 'sonatas'. The soloists form part of the ripieno. Of the six concertos in this recording, two were adaptations of other works: RV90=RV428, a flute concerto, and RV99=RV571, one of the concerti con molti strumenti, whose two horns have here gentler substitutes. Exactly when, or for what practical purpose they were composed remains unestablished, though they appear to date from the 1720s and seem unlikely to have been meant for the young ladies of the Pieta. The mystery surrounding Vivaldi's bassoon concertos (for whom were such virtuosic tortures intended?) recurs here; the parts given to the instrument are of 'star-soloist' virtuosity, but they enjoy only bass-line status. There is plenty of variety of form (the third movement of RV107 is, unusually, a set of variations on a chaconne bass), texture and sonority (for once, not dominated by strings).
The London Harpsichord Ensemble have been active for many years on the concert platform but their earlier recordings have suffered deletion; this is in effect their disc debut with their present personnel, and an impressive one it is too. Though they do not use period instruments (except for the happily audible harpsichord) they play stylishly, crisply and with spirit, and are outstandingly well recorded. This is very recommendable as a happy walk through one of the less well-trodden, not least on record, Vivaldian paths.'