Baroque music was a lot like jazz. In oratorios and operas, in a da capo aria, the notes on the printed page were ironclad in the first pass through the piece. But on the second pass, the singer was expected to improvise his own ornamentation to show off his vocal chops. Likewise, in a concerto, the notes on the printed page were often a suggestion, where the instrumentalist was expected to improvise around the printed line.
For the L'Estro Armonica violin concertos, stick with Pinnock and Standage. By the way, in the first movement of the B minor concerto (#10) for 4 violins, Vivaldi uses a chromatic chord progression that is very un-Baroque. In fact it makes the top of your head come off.
There is a recording of Vivaldi's lute and mandolin concerti by Il Giardino Armonico conducted by Antonini (Teldec 4509-91182-2) that is exceptional. Compare Antonini's Concerto for Diverse Instruments in C Major (RV 558) with Leonard Bernstein's recording with some New York Philharmonic players made in 1959. Bernstein's recording follows the score religiously but lacks the bite of Antonini's faster speed, the plangency of gut stringed violins, and the freshness of improvisation.
I found this recording on Amazon and am listening to the samplers right now. Very enjoyable. And the price is right.
Thanks,
HH
Is that the same one I’m thinking of—Concerto in D for lute and guitar? The largo movement can bring tears to my eyes.
Hmmmmmmmm—Concerto in D. Coincidence? I think not.
Oops—I see that’s Concerto in C. Sorry about that.