Six unfamiliar concertos… show how skilled Vivaldi was at turning baroque clichés in unexpected directions. Carmignola finds wit in the first, and tenderness in the second, all articulated through subtle rubato which grows naturally out of the music. ...he's admirably partnered by the orchestra, which phrases sensitively, and knows when to attack the music, and when to be more yielding. A sparkling issue.

Giuliano Carmignola and the Venice Baroque Orchestra here return to the all-Vivaldi format which has so far served them well. Given that the concertos on this release are advertised as world premiere recordings, that seems sensible enough. The mushrooming of the Vivaldi catalogue means that the excitement of hearing 'new' works can be as immediate as if he were still working among us today; and where we used to know but a handful of (mostly early) concertos, we are now becoming more aware of different stylistic periods, as well as the cross-fertilisation with other areas of his output.
Three of the works here show affinities with vocal works from the 1720s, when the brusque energy of the L'estro armonico concertos had been left behind in favour of something more dance-like; the other two are in the expansive, laid-back style of the 1730s. It is a little voyage of discovery, then, with the scenery including much harmonic resource and violinistic devilry.
There are no surprises in the performances though: they are as purringly beautiful as ever from these artists. Carmignola dashes around Vivaldi's scampering passagework and giant leaps with an easy control and consistency of good tone, and the Venice Baroque Orchestra are worthy partners – their surging rivers of sound in the finale of RV325 give a real thrill. Indeed, while one can imagine violinists of the Manze or Biondi kind finding more drama or humour in this music, it is otherwise hard to find anything to fault in these Rolls-Royce performances.