What we have here is a selection of Vivaldi's works for mandolin (the Double Concerto, RV532) and lute (Concerto, RV93 and Trios, RV82 and 85), all played on the guitar; sandwiched among them are the Concerto for two violins, RV524 and the solitary one for two cellos, RV531, the former with no other current recording. The best LP version of the lute works played on the designated instrument remains that of Lindberg on BIS (LP290, 9/85) but if the guitar is accepted as a substitute (which it commonly is) then Sollscher takes a clear lead. As he is no biological 'sport' he has resorted to double-tracking in RV532 (and he couldn't find a better partner). Not only does he play with refinement and sensitivity, he also embellishes the repeats very elegantly—and not just by throwing in a few ornaments. The same is to be said of the soloists (Karen Turple and Patrick Genet) in RV524, whose vibrato is occasionally a little intense—but never objectionably so. The cellists (Thomas Demenga and Regula Hausler) are far more cautious in the Largo of RV531 but, avoiding any heaviness of tone or attack, produce the best-yet recording of the work on non-period instruments.
Of Berne Camerata one can write only appreciatively: they play with the utmost clarity, precision and life, and the recorded balance with the soloists is all one might ask. Tempos are well chosen, with the exception of RV93, the first movement of which is taken very briskly indeed. The recording, aided by a good acoustic, is crisply clear, and the quiet surface of the LP means that the advantages of the CD form lie in other, by now well-known directions.'