Two items here are only recently verified as being by Vivaldi. The Sonata RV779 dates from his time at the Pietà and on the manuscript he names the young ladies for whom the parts were intended. The oboist was one ‘Pellegrina’, the album’s eponym. Her lines are interwoven with those of the violin and the upper keyboard of the organ, producing some delicious sonorities, while the bass is here reinforced by the bassoon. The Sonata RV801 has elements of concerto writing about it: extended solos for violin, oboe and bassoon punctuate tuttis formed by the three together.

Despite his fondness for the oboe the virtuosic Sonata RV53 is Vivaldi’s only work specifically for oboe and basso continuo. It is harder to play on the Baroque oboe than on the present-day instrument but Gail Hennessy conceals this with consummate ease and grace. Although the sonatas RV28 and 34 are generally played with violin they are not so designated on the manuscripts and there is some evidence that they may have been intended for the oboe, a conclusion to which this recording lends weight.

Comparisons notwithstanding, this disc is irresistible in its own right. Everything about it speaks of high quality – all aspects of the recording, the informative notes by Michael Talbot and, above all, the performances, not least those of Hennessey.