The American flautist Robert Stallman is a pupil of Jean-Pierre Rampal whose influence has clearly been a strong one. Indeed, some of the likenesses between this recording of Vivaldi's well-known Op. 10 Concertos and Rampal's first recorded set of the same pieces under the baton of the late Louis de Froment (Turnabout, 4/66—nla) are striking. The observation is intended as a compliment since Rampal seldom if ever has brought such innocent charm to the music as he did on that veteran disc. The remaining concerto on the new issue is one in C minor (RV441) which Vivaldi composed for treble recorder and strings; but unlike the Fifth Concerto from Op. 10 which Vivaldi conceived as a work for treble recorder, the C minor piece was never recast by the composer for the transverse flute.
Stallman is a musical player who, apart from a predilection for occasional cadential flourishes at the close of fast movements, adopts a somewhat self-effacing approach to these performances. He does not, for instance, use the music as a vehicle for vacuous virtuosity, preferring to keep more or less to what Vivaldi actually wrote. In fact, he often capitalizes on that much abused quality in Vivaldi's music, 'simplicity', where others sometimes feel that they know best. He has a warm, rounded tone, an agile technique and an ability to articulate clearly. There is some rhythmic elasticity, too, as for example, in the pervasively atmospheric opening Largo of the Concerto No. 2 in G minor, though sometimes I should have liked a little more. Above all perhaps, Stallman is a lyrical player who is sensible to Vivaldi's considerable melodic gifts; the middle movements of the Third (Il gardellino) and Fifth Concertos are particularly happy instances of it, though I did not care for all of his ornaments in the repeats of the former. Every now and again rapid passagework seems to find him momentarily at odds with the strings, but this is hardly of an order to threaten one's enjoyment. The St John's Smith Square Orchestra under the direction of John Lubbock provides lively support, with a continuo group which includes from time to time a bassoon.
To sum up: a musical performance in which only hidebound supporters of the period-instrument revival will find nothing to enjoy. Clear recorded sound.'