Antonio Vivaldi

“[Roberto Baraldi is a player] with a fluent technique who brings an excellent tone and stylish approach to these concertos” Fanfare

“[Martini's] solo playing on the disc of "Dresden" concertos is unfailingly sympathetic and accomplished” Fanfare

“These are not period-instrument performances, incidentally, but are nevertheless so vital, musicianly and affectionate” Gramophone Magazine

“A welcome follow-up to Vol. 1, Concertos 1-6, to which I gave an enthusiastic review [HFN/RR Dec'99]. Many of the same positive qualities are on show here: lively, short-phrased modern-instrument playing in near-period style, with a continuo divided between harpsichord and archlute (plus string bass of course). The continuo players, who are balanced with care to give the right degree of harmonic support, are not named. Neither is the second violinist who contributes to Concerto 11. On the whole, Andrew Watkinson copes well with everything Vivaldi throws at him, adding the occasional decoration... The forward recording has excellent ambience... Those who bought Vol. 1 [8.553323] will certainly need to complete the set with this disc.” Hi-Fi News

“Pick of 1999.” Classic FM Magazine, January 2000

“La stravaganza is the second of the sets of concertos published during Vivaldi's lifetime. It was issued in about 1714 as the composer's Op 4 and, as with the greater number of his printed collections, contains 12 works. They are essentially violin concertos, although, to a much lesser extent than L'estro armonico, Vivaldi also provides on occasion solo parts for an additional violin or cello. These concertos have long been favourites, above all, perhaps, for the profusion of lyrically affecting slow movements, of which those belonging to Concertos Nos 1, 4, 5 and 12 are notably fine examples: in this music there's delicate nuance, poetic fantasy and sheer originality lying beneath the immediately recognisable hallmarks of the composer's outward style.
Nicholas Kraemer is no stranger to this repertory having already recorded two of Vivaldi's other printed sets, Opp 8 and 9. Those, however, were with his period-instrument Raglan Baroque Players, whereas La stravaganza is played on instruments tuned to today's standard pitch. This, paradoxically, may be closer to the pitch which Vivaldi himself used rather than the lower Baroque pitch.
Listening to this music, so full of vitality, invention and expressive tenderness, leaves one feeling exhilarated. Andrew Watkinson plays with virtuosic flair, but senses the highly developed fantasy present in every one of the concertos.
His embellishments are tasteful and restrained and his melodic line always clearly articulated. Tempos, for the most part, are effectively judged, though the almost unbearably beautiful Largo of the First Concerto, with its emotionally highly charged modulation towards the close, is perhaps a shade too slow.
The strings of the City of London Sinfonia sound tonally bright and unfailingly alert. Only in the Adagio of No 8 does the balance of the recording falter; the harpsichord's arpeggios (notably in the Adagio molto of 'Autumn') might have been allowed a little more prominence.” Gramophone Classical Music Guide, 2010

“Expert solo contributions...the oboe and bassoon clearly relish every bar...Kraemer's accompaniments are polished and spirited.” Penguin Guide

“Collectors who like Vivaldi but are tired of The Four Seasons will be delighted with this second volume in Naxos's series of Vivaldi's Flute Concertos. Five pounds will buy these lovely performances by Hungarian flautist Bála Drahos and the Budapest-based Nicolaus Esterházy Sinfonia; highlights are La tempesta di mare (The Storm at Sea)-also known as a violin work-and Il gardellino (The Goldfinch).” Classic FM Magazine

“Vivaldi's flute concertos have certainly not been neglected on disc, and there's a wide choice of 'authentic' and middle-of-the-road versions played on both tranverse flute and recorder; this present selection is in the MOR vein and faces numerous competitors. In the flute concertos Béla Drahos is a superb soloist, as smooth as silk and agile as a kitten, and whose flights of fanciful embellishment might have won Vivaldi's approval. The Esterházy Sinfonia sounds a little beefy at times in its opening statements, but in the presence of the soloist its touch is appropriately light, and the third Largo ('Il sonno'), of Op 10 No 2, 'La notte', is impressively hushed. The outer movements of the bonus concerto, R441, dance on the lightest of feet; the work was originally written for the recorder, but on whichever instrument it's played, you wonder why it has no other currently listed recording. This present one would carry a warm recommendation even if it were not at bargain price.” Gramophone Classical Music Guide, 2010