Vivaldi: Cello Sonata in G minor, RV42

“Gabetta has a ravishing tone, especially in Vivaldi's soulful slow movements. The vigorous cello pyrotechnics of the finale of the G minor, RV 416 are negotiated with bravado to spare, and the febrile edginess of the A minor's end encourages sly banter.” BBC Music Magazine, February 2012 ****

“Gabetta again plays with unerring precision, but also with a sure-footed interpretative authority...As before, it is the fertility of imagination undergirding every one of Gabetta's performances which marks this colelction out as being something exceptional...Highly recommended.” International Record Review, January 2012

“The cello-playing Count von Schonborn provides the connecting theme for Sol Gabetta's disc; his library contains some significant Vivaldi manuscripts, including the sole source of the sonata recorded here...With its finely worked contrapuntal tuttis and picturesque, melancholy Adagio, [Platti's] Concerto, in this vigorous, poised performance, proves to be a real find.” Gramophone Magazine, December 2011

“Ranks honourably among the best available … Watkin has the advantage of outstanding continuo support and a recording of surpassing beauty and unexaggerated perspectives. If faced with a choice I’d opt for David Watkin’s consistently articulate playing, the decisive criterion being Hyperion’s rapturously seductive sound” BBC Music Magazine Top 1000 CDs Guide

Penguin 3 star

“These stylish and tastefully ornamented performances are pleasant enough, but ultimately miss that last ounce of sparkle, imagination and colour projected by Pieter Wispelwey in his Vivaldi disc.” BBC Music Magazine, September 2005 ***

“Vivaldi wrote with great imagination for the cello, and the sonatas, like the concertos, are plentifully endowed with affecting melodies – the third movement of the E minor Sonata is a superb example –and virtuoso gestures. It would seem, on the strength of these pieces, that Vivaldi possessed a rare sensibility to the expressive cantabile possibilities in writing for the cello.
Certainly, few Baroque composers other than Bach and perhaps Geminiani realised the instrument's solo potential better than he. Wispelwey is a sensitive player who draws a warm if at times under-assertive sound from his instrument. Fast movements are clearly articulated, slow ones lyrically played with some feeling for the poetry of the music. The performances are thoughtful and enlightened, with a continuo group that includes organ, harpsichord, cello, archlutes, theorboes and guitars in a variety of combinations.
The quality of the recorded sound is fine.” Gramophone Classical Music Guide, 2010