This new issue follows a recent Chandos release of Vivaldi's sonatas for one and two violins played by some or all members of the Purcell Quartet (9/90). The programme pattern is much the same here as in the earlier release with a mixture of pieces both from published and unpublished collections: three sonatas from Vivaldi's earliest printed oeuvre, Op. 1, two for two violins with optional basso continuo, and two for solo violin and continuo. Many readers will be familiar with the Op. 1 sonatas, despite them not having been all that frequently recorded in the past, but the remaining pieces are less likely to have been encountered. Two of them, in C major (RV2) and C minor (RV6), were dedicated to the virtuoso leader of the Dresden court orchestra, Pisendel; the remaining two, in F (RV68) and B flat (RV77) have not, to my knowledge, been recorded before.
As in the previous volume the violinists Elizabeth Wallfisch and Catherine Mackintosh sustain a strong partnership, evenly balanced and pleasingly complementary in matters of articulation and embellishment. This can be heard to especially good effect in the attractive Sonata in D minor but, perhaps, above all, in the Sonata in F. This at times concerto-like piece, in which the continuo sensibly is involved, is full of sparkling ideas with frequent hints at the galant style of the mid century. The two violinists interpret it with warmth, vivacity and a fluent grasp of Vivaldi's idiom. One could easily imagine that the sprightly initial melodic idea of the finale was of popular origin, and its puckish charm is deftly captured here.
The remaining works fare equally well, even if the level of Vivaldi's inspiration is not always as consistently high. The two 'Pisendel' sonatas, as we might expect, call for quite an advanced technique and I felt occasional moments of discomfort in both interpretations. Vivaldi's movement markings for the C minor work are incorrectly listed by the way and should read Preludio Andante; Corrente Allegro; Grave; Allemanda Allegro. Almost throughout, the violinists are supported by light and sympathetic continuo playing and, as before, the recorded sound is excellent. Warmly recommended.
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