Vivaldi – ‘Il Proteo’ Double and Triple Concertos (1995)

01 - Concerto in Re+ RV564 - Allegro                       play
02 - Concerto in Re+ RV564 - Largo
03 - Concerto in Re+ RV564 - Allegro
04 - Concerto in Fa+ RV551 - Allegro
05 - Concerto in Fa+ RV551 - Andante
06 - Concerto in Fa+ RV551 - (Allegro)
07 - Concerto in sol- RV531 - Allegro
08 - Concerto in sol- RV531 - Largo
09 - Concerto in sol- RV531 - Allegro
10 - Concerto in La+ RV552 - Allegro
11 - Concerto in La+ RV552 - Largo
12 - Concerto in La+ RV552 - Allegro
13 - Concerto in Do+ RV561 - Allegro
14 - Concerto in Do+ RV561 - Largo
15 - Concerto in Do+ RV561 - Allegro
16 - Concerto in Fa+ ''Il Proteo o sia Il Mondo al rovescio'' RV544 - Allegro
17 - Concerto in Fa+ ''Il Proteo o sia Il Mondo al rovescio'' RV544 - Largo          play
18 - Concerto in Fa+ ''Il Proteo o sia Il Mondo al rovescio'' RV544 - (Allegro)

Christophe Coin (cello), 
Il Giardino Armonico 
Giovanni Antonini – director

I Giardino Armonico have been captivating record collectors and concerto audiences alike with their fresh and invigorating performances of Italian baroque music. This disc, the most interesting so far, brings together six of Vivaldi's concertos for two and three solo stringed instruments. The Concerto in G minor for two cellos (RV531) and the Concerto in A major (RV552) are well known to lovers of this composer's music, but the remaining pieces may be less familiar. All of them are in Vivaldi's best manner, revealing his extraordinary invention and poetic fantasy. Such qualities as these are lost neither on the Ensemble nor on their wonderfully gifted guest artist, the cellist Christophe Coin. His discipline tempers the more wildly extravagant gestures of the ripieno while losing none of the vitality and lyricism without which Vivaldi's genius, subtler by far than some would aver, suffers immeasurably. The programme has been thoughtfully chosen both in respect of musical quality and variety of texture and colour. There are no disappointments here; the technical excellence of the ensemble, Coin's own instrumental artistry, and first-rate recorded sound have created an issue of outstanding merit. -- Gramophone [11/1996]

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