It could not be said that any of these works represents its composer at his best; indeed, Heinichen (sometimes) and Schickhardt (often) reach parts that others had already frequently reached. However, neither could it be said that the music lacks charm or grace, or that this distinguished assemblage of performers fails to extract every drop of life from it. Even when Vivaldi's thematic muse spoke in commonplaces he usually managed to remind one of the saying ''It ain't what you do, it's the way that you do it'', as he does in the Concerto in due cori, finally catching the attention that may have wandered a little during some of the preceding items.
Clifford Bartlett (the annotator) comments, that ''tuning between a single recorder and another solo instrument can be difficult (perhaps due to incompatibility of the overtone patterns)''. Tuning can be difficult but it has nothing to do with overtones: the sounds of flutes, both fipple and transverse, are almost devoid of overtones. The problem is due to the recorder's lack of flexibility of intonation, exacerbated by the variation of pitch with strength of blowing, especially in the tendency to 'go sharp' when blown strongly. It is always present, as are other problems of instrumental incompatibility of intonation, and we have become accustomed to living with it, and it is likely to mar the gentle pleasures of this finely recorded disc only for the most hypersensitive listener—to whom the problem must already be familiar.'