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American Record Guide: (03/2020) 
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Reviewer: Joseph Magil

These concertos are preserved in manuscripts the composer sold to Count Vinciguerra Tomasso Collalto in 1741 shortly before he died during his trip to Vienna. They are being published as part of the Vivaldi Edition, which is drawing from the collection of composer manuscripts held by the Italian National Library in Turin. These works were probably composed between the mid-1720s and the mid-1730s.

These pieces are new to me, and Vivaldi’s invention never ceases to amaze me. So many baroque compositions have a cookie-cutter sound. In a program of such works, I cannot distinguish one from another; they all blend together into one endless composition. But that is never the case with Vivaldi. The man’s imagination seems never to have run dry. Solo figures and orchestral textures and rhythms vary constantly, and a different mood is established in each work. No wonder Bach loved to steal from him. These performances are bold and very polished. They don’t have the puritanical quality that one hears from many other period performance practice groups; they play with relish and gusto. Naive’s clean stereo sound captures the music’s occasional subtle spatial  effects.

Tampieri’s violin was made by Marco Minnozzi in Ravenna in 2014.

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