Let me declare this by far the best account of this music to date. Not only is Lindberg's own contribution exemplary in unaffected, stylistic felicity and tone, adorned with tasteful embellishment (as is that of Sparf), but the use of period instruments and discreet lozenging of notes helps in keeping the lute audible at all times. Indeed, this is some of the best period bowed-string playing I've heard in a long time, warm, and free from the 'white noise' that still haunts many such performances. Vivaldi was famously generous to 'fringe instruments, two of which he brought together in RV540, a curious but effective partnership. Huggett's handling of the viola d'amore is of the same high order as that of her violin playing, causing one to wish that she would address herself to RV97 and RV392-7, Vivaldi's other concertos for the instrument, of which no 'authentic' recording is available; her blend of instrumental skill, style and humanity is a rare one. If the inevitable repetitions of such a small corpus of works (to which guitarists have added) has perhaps staled them a little then this beguiling, affectionate and beautifully balanced recording refreshes them in the most welcome way. It's difficult to see how they might be better.'