Good recordings of Vivaldi’s first printed opus are hard to come by. The set lacks the distinctive imprint of what we understand and recognize as Vivaldian, yet the pieces have great charm if handled sensitively and imaginatively. These have long been virtuous features in Monica Huggett’s playing: her gently inflected approach to the music, shared by the other members of Sonnerie, is a constant pleasure, and is heard to great advantage in the many beguiling slow movements of which the Largo and Sarabanda of Op. 1 No. 4 immediately spring to mind.
In addition to the Op. 1 Trio Sonatas Sonnerie plays two further trios, a Sonata for two violins, a Sonata for violin, cello and continuo and one of Vivaldi’s nine cello sonatas. One of these, in G minor (RV72) was included in the composer’s Op. 5, containing four solo violin sonatas and two trios. The Cello Sonata (RV43) belongs to a set of six printed in Paris c 1740. These miscellaneous additions to Sonnerie’s programme are in all but one instance more immediately identifiable as products of Vivaldi’s pen than the Op. 1 pieces. The G minor Sonata hints at other of Vivaldi’s chamber works, while the Sonata in F major (RV70) , in its two-violin writing, brings to mind Vivaldi’s double concertos. The writing is essentially unaccompanied but in this performance a discreet plucked string instrument is included.
The Trio Sonata in C major (RV60) is the least Vivaldian of the appended group and its authenticity was questioned until fairly recently. Yet its spirited Allegro finale seems at times to foreshadow passages in the concertos of L’estro armonico (Op. 3). Alison McGillivray plays the Cello Sonata with a feeling for the music’s declamatory content as well as for its lyrical properties. She ornaments freely but with restraint and her intonation is excellent. The remaining Sonata, for violin and cello (RV83) , is a worthy companion piece to the better-known Sonata for treble recorder and bassoon (RV86). Even more than RV70, the supple, virtuoso dialogue for the treble and bass protagonists is concerto-like and is sustained with even balance and expressive sensibility by Huggett and McGillivray. This is a first-rate release which comfortably outclasses any rival versions of Vivaldi’s Op. 1, as well as providing us with a rare opportunity of hearing several other uncommonly encountered pieces. Strongly recommended.'