Vivaldi: Violin Concerto, Op. 4 No. 5 in A major, RV 347 - download (MP3 & FLAC)

“Crisp, agile and convincing.” BBC Music Magazine, June 2010 *****

“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