An anthology of seven flute, concertos by Vivaldi which admits only one work from the frequently recorded Op. 10 set is welcome. Most of the music here will be comparatively unfamiliar to collectors and few, I think, will be disappointed either by Vivaldi's invention, often beguiling in its fantasy, or by the captivating performances. There is such a wonderful variety of material both thematic and rhythmic, in the ritornellos of outer movements that I am astonished Vivaldi's adversaries have been allowed to get away with the fatuous generalizations with which they demote his music. The D major Concerto, RV427, commands our attention from the outset with its three arresting hammerstrokes recalling an opera convention of the time and strongly reminiscent of the opening movement of the Violin Concerto in E major from La cetra (Op. 9). Recalling Venetian opera, too, are the lovely aria-like Larghetto of the Concerto in A minor, RV440, the Largo duet for two flutes of the Concerto in C major, RV533, and the Andante of the D major Concerto, RV429 in which the flute is partnered by a solo violin.
The performances are delightful and cast a benign spell over the music from start to finish. Janet See is a flautist with a firmly-grounded technique, a lively sense of style and, it would seem, an intuitive feeling for the music. Her playing is admirably complemented by the modest string strength of the San Francisco-based Philharmonia Baroque Orchestra under Nicholas McGegan's lively and responsive direction, he never indulges in silly break-neck tempos of the kind which are favoured by too many experienced but seemingly insensitive artists and which ultimately do Vivaldi's charmingly unassuming invention a great disservice. As I remarked in an earlier review of a disc in which Janet See was playing a Vivaldi flute concerto (EMI EL747700-1, CDC7 47700-2, 5/88) she is gifted in the art of embellishment never exceeding, merely for virtuosity's sake, what serves the best interests of the music. Her phrases have shape to them, her articulation is clear and communicative, and her intonation faultless.
All in all, this is a first-rate release in which thought has been given to many aspects of performance practice. McGegan's decision to use an archlute as part of the continuo, as well as harpsichord, was a good one. A plucked instrumental sound adds both colour and incisiveness to the texture and often highlights the pastoral character of slow movements. The recording is ideally balanced and pleasantly reverberant. Strongly recommended.'