With Vivaldi violin concertos suffering from at least three numbering systems, there is partial relief in making a collection of four of them with identifying sub-titles. On this occasion they have, too, identifying characteristics. Per la Solennita di San Lorenzo offers, unusually for Vivaldi, a slow introduction; this originally was no doubt for St Laurence's benefit, but here serves well to introduce the programme as a whole. Senza cantin does not mean no tea-break for the players (a demand which would substantially reduce its chances of ever being recorded!); instead it instructs the player not to use his highest string, giving a less brilliant effect than is customary (there is some doubt about the authenticity of this instruction). Il riposo again affects the sound, the strings muted throughout, the harpsichord silent: a reverent sound for the first of all Christmas Days. Il favorito comes closest to standard form, but even here the ear is beguiled in the slow movement by the absence of the bass instruments.
As if this were not variety enough, a further dimension of the quality is offered, very happily indeed, by a choice of classic Cremonese violins offered by the collection of the Palazzo Comunale of Cremona. String players should be warned not to go to Cremona in order to find the original workshop of Stradivarius—it has disappeared long since beneath rebuilding projects. But in compensation there is this marvellous collection of the instruments of the period, from which Accardo has chosen for San Lorenzo an Andrea Amati (substantially the oldest of them); for Senza cantin a Guarnerius; for Il riposo a Niccolo Amati (grandson of Andrea); and for Il favorito, very appropriately, an instrument made by Stradivarius himself. The niceties of the differences in response between these four fabulous instruments will of course be most apparent to the player; but to the listener the sound of any one of them would likely suffice for a lifetime.
The sound, that is, that Accardo produces from them. With all the variety that there is on this record, there is also some uniformity where this is desirable: a uniformity of excellence in the solo playing, in the orchestral playing, and in the harpsichord playing, audibly balanced just right with the strings. There is, too, a very good quality of recording in general, and plentiful relevant information (in three languages) in the notes. And, finally, there are coloured illustrations of the four violins concerned, front and back, on the front of the sleeve. Identification, of which is which, is given in tiny print on the back of the sleeve: before referring to this, make your own guess!'