Vivaldi’s fine set of 12 violin concertos, La cetra (“The lyre”), published in 1727 as his Op. 9, will be well known to readers with an interest in this composer. What they may not have previously encountered, though, is another set of 12, also confusingly called La cetra, which remained unpublished during Vivaldi’s lifetime, and which contains only one concerto common to both sets. Further confusion is assured by the fact that Vivaldi dedicated both sets to the same person. He was the Austrian Emperor, Charles VI, whom Vivaldi had first met in Vienna and subsequently in Italy where, it is reported, he spoke to the composer more in two weeks than he spoke to his ministers in two years. The work common to both is that in B minor (Op. 9 No. 12/RV391). It is one of only a handful of concertos by Vivaldi calling for violin scordatura, and is, furthermore, among the finest pieces in each of the two collections.
The unpublished La cetra, however, raises a number of problems for the would-be performer since the solo violin part in each work is missing. Fortunately, all but three concertos are known from other sources, either in autograph or copy. The three that are known solely by their inclusion in this set have been replaced in the present recording by three others in corresponding keys and, as far as one can tell, of a corresponding period. They are concertos in B flat (RV380), G minor (RV327), and C major (RV171). While these works may or may not be already familiar to readers, four others are most likely to be. Two of them, a Concerto in E minor, Il favorito (RV277), and one in C minor (RV202) subsequently appeared in Vivaldi’s Op. 11 (1729); another, in E major (L’amoroso, RV271), has long been a favourite among performers while a Concerto in F major, per la Solennita di S Lorenzo (RV286), also enjoys quite a high profile nowadays. The Sixth and Twelfth Concertos of the set are for two solo violins and strings. As with the concertos for single solo violin, the first violin part is missing in each case but has been straightforwardly, if conjecturally reconstructed from material contained in the second.
By now, readers may be wondering if all this repair work was worth the effort. I would say undoubtedly yes for, even if the greater number of pieces are known from other sources, we have here a fair impression of an anthology which must, to some degree, reflect the importance attached to its contents by Vivaldi himself. And, indeed, he has assembled some of his most impressive concertos, among them the superbly crafted Il favorito, the sensuous L’amoroso and the B minor Concerto for scordatura already mentioned. L’Arte dell’Arco is a period-instrument group of no great tonal refinement but with an effective sense of style and a strongly projected feeling for the fantasy element in Vivaldi’s slow movements. The performances are sparkling with vitality, caprice and the necessary virtuosity to ensure a high level of interest and pleasure. Few readers, having heard the Concerto in C major (RV189) with which the first disc begins, will want to stop there. The instruments, by the way, are tuned to A=440, thus occupying middle ground between a higher pitch, thought to have been prevalent in and around Venice in Vivaldi’s time, and the lower A=415 generally preferred by present-day period-instrument ensembles.
The same ensemble is responsible for another musically rewarding disc of Vivaldi concertos. These are six works for two solo violins and strings. Vivaldi wrote some 25 double violin concertos in all and they are, on balance, the pieces from his pen which I most value. Only three were printed during his lifetime but, sensibly, these are not included in the programme, since they belong to L’estro armonico and La cetra, both of which have been recorded many times over. The least familiar of them is the Concerto in C major (RV506) which makes a rare appearance on disc. The well-chosen programme also includes three concertos of outstanding merit, in A minor (RV523), G major (RV516), and D major (RV513). All have alluring slow movements, the two first-mentioned in the manner of a trio sonata, the third a hauntingly beautiful Andante whose wistful melody with many an unexpected turn is introduced by the first violin and taken up by other instruments in turn. Perhaps the tempo of the Andante molto of the C minor Concerto (RV509) is too slow to make the most of the caressing grace notes which beguile the senses, but overall, this is a release which affords pleasure. Responsive playing, certainly, though lacking the refinement of more seasoned period-instrument ensembles. Nerveux, as the French might say.'