Modo Antiquo, Federico Maria Sardelli - Vivaldi: New Discoveries (2009)

In his definitive study of the composer's life and work, Michael Talbot spoke of the prospect of 'perpetual discovery' in respect of Vivaldi, resulting from a neglect spanning centuries. 'Scarcely a year passes,' he wrote in 1978, 'without the announcement of some fresh discovery'. This CD gives an excellent example of what we might expect even now, 30 years after Talbot's study, with a collection of new finds from just the last year and a half!
Talbot himself is something of a sleuth when it comes to discovering Vivaldi. He unearthed some very distinguished sonatas in the 1970s, and one of this CD's many strengths is his authorship of the liner notes with an endorsement of the music's authenticity - a major reason why the CD scores over the MP3 version, despite its higher price. If you are interested in the nature of the 'finds', it's the CD option you will probably want.
Although Talbot might (just) be right in suggesting that none of the works in the current collection is from the very top drawer, they are all nonetheless engaging and deeply satisfying. A special feature is the quality of the cantabile slow movements - that of the Concerto for oboe and bassoon in g especially. This concerto, currently the very last numbered in the Ryom catalogue (RV812), is captivating from start to finish. Whether or not 'top drawer' is a matter of opinion (and a question of how big the drawer is!). Equally important, the performances are uniformly excellent. Paolo Pollastri's recorder playing, to take just one example, is highly bravura.
Despite Talbot's validation, and despite the very Vivaldian feel of these works, there can be no absolute guarantee of their authenticity. Several pieces have been (?erroneously) attributed to other composers in the past. But regardless of authorship, this assortment of sonatas, arias and concerto inspire and entertain. And, at the very least, they are supremely suggestive: firstly, of Vivaldi's prodigious output and, secondly, of the fact that he was a master of all genres, not just the concerto.
Federico Sardelli, flautist and director of Modo Antico, suggests that another such collection might well be on the way. While recording the CD, apparently, further discoveries were still being made. Long may they continue.