Akademie für Alte Musik Berlin VIVALDI Doubles Concertos

With more than 500 concertos to choose from, it is easy to select an attractive program of Vivaldi's orchestral music. Indeed, some would argue that with such depth of repertoire, it would be hard not to assemble such a program. But one way or another, one would have to agree that the six works on this 2007 Harmonia Mundi disc make up a singularly attractive program. It opens and closes with two three-movement concerto grossos for string orchestra, and at its center are four enchanting concertos for four different sets of soloists. Each work and each set of soloists is first-rate and the quality of the playing raises even the most familiar work here to new heights. The Akademie für Alte Musik Berlin is a suave-toned, sweet-tempered, supremely virtuosic period-instrument orchestra that has demonstrated its excellence many times before. As led by violinist Georg Kallweit in all but the opening Concerto Grosso in G minor, the Akademie seems born to play Vivaldi. The suppleness of the tempos, the intensity of the intonation, and the fire in the tone ideally suit Vivaldi at his energetic best. It would be hard to pick out a single favorite, but if you want just a sample of what the Akademie can do with Vivaldi, try the penultimate Double Concerto in A minor for two violinists featuring Kallweit and Midori Seiler. The fire in the outer Allegros and the passion in the central Larghetto e spiritoso are simply scorching. Harmonia Mundi's sound is crisp, colorful, and deep. (James Leonard)

Maurice Steger & Ensemble VENEZIA 1625

Swiss recorder virtuoso Maurice Steger is one of the most exciting specialists on his instrument to come along since the late and lamented David Munrow, and he was already becoming an established touring artist in Europe while still a student. Having previously delivered two fine discs of Telemann and Giuseppe Sammartini chamber works, Harmonia Mundi's Venezia 1625 finds Steger as leader and coordinator of a large group of instrumentalists, though not all play at the same time; larger configurations of the ensemble dominate the first half of the program. What ties it all together is the concept, which centers on the early Baroque chamber sonata (or sinfonia) as practiced in Venice around 1625, a time and place that nearly signify the declaration of independence for Western instrumental music. Publications of that era tend to be so vague in terms of instrumentation that nearly any combination is conceivable to realize a given piece, and Steger takes full advantage of this in making his ensemble choices and taking them apart again, not to mention the observing convention that anything written for violin then could also pass for the recorder. The backdrop supporting Steger is different literally from track to track, and this helps provide variety, though the latter half of the disc is geared more toward pieces of modest of dimensions. 

Steger certainly knows how to pick players; some of these folks are the crême de la crême of the early music movement in Europe; the quality of their playing and inherent ensemble blend would have caused Venetian jaws in 1625 to drop. Hille Perl, whose gamba can be heard on most of the tracks, makes a big difference in the Tarquinio Merula Ciaccona, rolling continuo lines around on her viol in passagework worthy of what's in the solo parts. When Christian Beuse's dulcian comes in on Fontana's Sonata IV, you take notice, for it's a new instrument and picks up ones ears in the wake of the lively Merula Ciaccona. The first half of the disc is great; its balance of pacing and material makes for a terrific spring-summery mix that keeps on moving forward. After about midpoint, however, Venezia 1625 begins to drag, owing to a concentration of slow pieces and small forces; it's rather like the wind got knocked out of it. 

Nevertheless, Steger is a dazzling player, in every way able to match the violin as to flexibility and speed, and for passages requiring double stops he has a couple of additional recorder players to pitch in a little assistance. Venezia 1625 will be a wonderful disc for the car, and for the kids, who respond well to the sweet piping sound of the recorder; if you are looking to take a summer outing and want something other than the Beach Boys to listen to, then at least the first half of Harmonia Mundi's Venezia 1625 will be perfect for that; perhaps the second half is for the drive home. (Uncle Dave Lewis)