Antonio Vivaldi
Sonatas for Strings

At the beginning of the 18th century, if a musician wanted to demonstrate their compositional skills, they had to successfully engage in the genre of "Sonate a Tre" (2 violins and basso continuo). A bit like what would happen with string quartets at the end of the same century.
This rule naturally applied to many Italian Masters, from Corelli to Albinoni up to Vivaldi.
The Red Priest tackled the genre in 1705 (with the "12 Suonate da Camera a Tre op. I"), considered more than a tribute to Corelli's Opera V, if only for the common variations on the "Folie d'Espagne," a type of dance like the Sarabanda already known in the 16th century and of renewed interest in 1700.

An extensive representation of Vivaldi's Opera I is given in the 1990 two-disc set by Chandos, featuring the English ensemble The Purcell Quartet (Robert Woolley on harpsichord, Catherine Mackintosh and Elizabeth Wallfisch on violins, Richard Boothby on cello).

Showing a bit of healthy patriotism, it’s regrettable to say that these English musicians present us with a truly intriguing Vivaldi.

The performance is rich in dynamics, joyful and lively in the allegros, vibrant and intense in the adagios.
The harmonic play and textures between the two violins are always rich and intelligently balanced; Vivaldi's abundant basso continuo emerges with its own autonomy without overwhelming.

These are genuinely elegant yet sincere interpretations, measured but substantial. An example? The beginning of the "Giga - Allegro" in third position of the "Sonata in B minor op. 1 no. 11" (sample). The presentation of the dance theme by the first violin is already charged with tension that seems to relax in the brief intervention of the basso continuo, then re-strengthen and solidify in the second exposition.

The recording is accurate, especially in the positioning of the instruments, generally with the first violin on the left channel, the second in the center, the harpsichord in front, and the cello on the right channel. The acoustics of the English churches where the sonatas were recorded slightly favor the mid-highs over the mid-bass and bass, causing the violins to blend excessively in the more dynamic passages.

Unfortunately, not all 12 sonatas of Opera I are recorded by the quartet. In these 2 CDs, only sonatas from 7 to 11 are featured. It would have been a truly interesting comprehensive addition alongside the better-known "I Musici."
However, the ensemble offers us some rarities, such as the Sonatas for 2 violins with optional basso continuo RV 68, 70, 71, and 77, as well as the equally rare Violin and Continuo Sonatas RV 2, 6, and 29. Another reason to choose these recordings in the limited scope of the Venetian chamber music.

Vivaldi - Sonatas for Strings Vol. I & II - The Purcell Quartet - CD 1: 58'03, CD 2: 67'33 - Chandos - 1990 - DDD