I am still inebriated with the delights afforded by the recently issued La stravaganza, Op. 4 from Monica Huggett and the AAM on L'Oiseau-Lyre (417 502-1OH2, 3/87). Now, with a new and first-rate recording of Vivaldi's La cetra, Op. 9, I shall probably have to be carried home. For, like the wife of Sir Richard Steele, I seem to be ''far gone in the Italian taste''—the remainder of the quote is to my disadvantage! La cetra (''The lyre'') was Vivaldi's last great set of printed concertos; the 12 works were published by Le Cene in Amsterdam in 1727. They are in all but one case real solo concertos, the exception being Concerto No. 9 in B flat which is scored for two solo violins. Two others, Nos. 6 in A minor and 12 in B minor, require scordatura or returning of the violin; both are, incidentally, particularly fine concertos. La cetra may be the least widely known of Vivaldi's four published sets of concertos with fanciful titles. Yet although perhaps it may not contain any music quite so hauntingly beautiful as the slow movements of the Fourth and Twelfth Concertos of Op. 4 I confess it has long been my favourite. There are fewer flights of fantasy in La cetra than we find in Op. 4 or Op. 8 and it is less innovative than Op. 3. The music, however, remains throughout on a consistently high level, often serious in content but with seemingly mischievous gestures every now and again—the repeated hammer-strokes of the Venetian opera sinfonia are waggishly introduced to the opening movement of Concerto No. 4 in E major—and, on occasion, rich in pathetic expression.
Nicholas Kraemer's Raglan Baroque Players comprise an ensemble almost identical in size and disposition with that of the Academy of Ancient Music as employed in La stravaganza. And, like Christopher Hogwood, Kraemer uses harpsichord or organ according to what he considers the requirements of the music. Both, furthermore, include a theorbo and archlute in the continuo texture. The violin soloist in each of the recordings is Monica Huggett whose performances I warmly praised in my review of La stravaganza. In La cetra, it seems to me, she is on even better form, with highly polished playing, always articulate, and with a warm tone that is particularly well captured in the EMI recording. There is more than mere virtuosity in Vivaldi's writing and the way in which Huggett softly caresses her phrases—the slow movement of Concerto No. 3 in G minor is a case in point—is one of the chief glories of this issue. And, as in La stravaganza, she often lightly ornaments the solo lines with admirable taste and direction. In Concerto No. 9 in B flat she is joined by Alison Bury (violin), who provides a strong partnership. Both the scordatura concertos come off well; No. 6 in A major has been dogged in the past by a misunderstanding of Vivaldi's score. Here, the matter has been sorted out, and the concluding ritornello of the first movement is restored, as it should be. The other, No. 12 in B minor, is a powerful work, though containing in its opening movement an extended passage of beguiling lyricism. In the third solo episode a poignant cantilena is played by the first violin line of the tutti, whilst the soloist accompanies with arpeggios and the second violins and violas with quaver figures. The magical effect is not lost on these players, who execute the music with a ready awareness of its poetry.
Fine solo playing, warm and incisive ensemble and stylish direction of what has always struck my ears as captivating repertoire add up to a strong recommendation. Sometimes, I found myself wanting a little more in the way of sparkle and bite in the tuttis. Hogwood in La stravaganza, though sometimes with less polished ensemble, achieves a spontaneity and an effervescence which I felt lacking, on occasion, in La cetra; but then, the music is less 'extravagant' on balance and there is a maturity here which the earlier set does not possess with the same consistency. A considerable achievement, enhanced by fine recorded sound. What a year it is already for lovers of Vivaldi's instrumental fantasy. Strongly recommended.'