This new release of sonatas by Vivaldi (or not as the case may be, but more of that later) is the first in a projected series of six ''illustrating the widespread use of the famous air 'La folia'''. Well, that seems an entertaining idea and if the playing is as accomplished as it is here then we have something to look forward to. Perhaps what I enjoyed most about these performances is the warm sound achieved by both violins, their light, airy articulation, and the relaxed approach to the music by all concerned. An organ is used for the da chiesa sonatas whilst a harpsichord is sensibly preferred for the da camera ones.
Two of the Sonatas, RV754 and RV758, come from the set of 12 housed in the Henry Watson Music Library in Manchester. The collection once belonged to Corelli's Roman patron, Cardinal Ottoboni, and is becoming familiar to present-day audiences as the ''Manchester Sonatas''. A third sonata comes from Vivaldi's Op. 1, published in 1705. It's the one which has provided the excuse, though hardly needed, for the record, ''La Folia''. Two others, in G minor, RV74, and C major, RV60 may not be by Vivaldi at all. Indeed, the second movement of RV60, strikes me as being quite untypical of any known Vivaldi style, though the finale has more characteristic touches; but it is an attractive work, all the same, and therefore welcome, interloper or not.
Of the four commercially recorded versions of Vivaldi's La folia this new one captures its spirit most effectively. The Purcell Quartet play with poise and security of technique. They savour the sonorities inherent in the writing and are not afraid to play expressively employing much in the way of tasteful ornamentation. There is plenty of tempo and dynamic contrast between its 20 short sections and I was impressed by the excellence of the ensemble. In this last respect, of course, they are comfortably matched by such groups as Cologne Musica Antiqua who also have recorded Vivaldi's La folia (Archiv Produktion 2533 463, 11/81); but, much as I enjoy their vigorous account of the work, it is this lighter textured and more playfully articulated version that appeals more naturally to my senses.
Both the solo sonatas come off well. The Sonata in A major, RV758, the last in the Manchester set of 12, is especially engaging with its extended, Arcadian-spirited Preludio and an Andante with phrases momentarily recalling an aria in Vivaldi's serenata, La ninfa e il pastore. Just occasionally I detected a sour note in the accompaniment of this movement but certainly not sufficient to detract from my enjoyment of lively and graceful playing. The recording acoustic is ideally resonant, the stero image effective, and details always clear. Recommended with enthusiasm.'