So far, Opus 111’s thoroughly enjoyable Vivaldi series exploring the contents of the giant archive in the National University Library in Turin has almost exclusively employed Italian performers – which has somehow seemed only right and proper. But who can blame it for looking to Germany for this latest release, when to do so gives it the oppor-tunity to record what is probably the world’s top Baroque orchestra?

There is good historical reason, too, for at least two of these concertos were composed expressly for the Elector of Saxony’s orchestra in Dresden, and the others were certainly performed there. Vivaldi’s music enjoyed a cult following in Dresden after its introduction by the composer’s pupil Johann Pisendel, and listening to these works it is not hard to hear why. The two G minor concertos are scored for violin, two recorders, two oboes and strings (with an extra solo oboe in RV576), while the F majors both deploy a line-up of violin, two oboes, two horns and strings – rich stuff, reflecting the sumptuous sound-world of the Electoral orchestra.

Vivaldi revels in it all, the job of accommodating all the various solos in concise concerto movements inspiring him, it seems, to a joyously free-flowing stream of invention. There is not much room for memorable tunes, it is true, but the effect of this exhilarating and colourful parade is rather like that of walking through a busy circus ground, the eye constantly caught by the sight of different acts in rehearsal.

It is conceivable, however, that no troupe could perform with the exuberant aplomb and skill of the Freiburg Baroque Orchestra. Their playing is buoyant, technically spot-on and alive with effortlessly controlled energy, and they make every one of the music’s gestures count, from the astonishing rush of the third movement of RV577, to the stealthy opening of RV576, to the extraordinary drawing-together of instruments over a long pedal point in the same concerto’s finale; quite simply, every member of the orchestra is thoroughly on the ball.

Fifty minutes of music may seem like short shrift, but perhaps we should be grateful for every second in the company of an orchestra like this. I’m sure Opus 111 is.