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This is a selection of music by Vivaldi, played by one of the world's best baroque orchestras and featuring Yo-Yo Ma playing a Stradivarius cello dating from 1712. The title of the album appears to relate to this instrument rather than the music but, bizarrely it is not the one illustrated on the covers of the booklet. The programme consists of four concerti and seven other pieces, all the latter being transcriptions by Ton Koopman, the conductor and keyboard player. Although Ma features as a soloist in every work, there are several other members of the orchestra playing solo parts on some of the pieces: the instruments featured include baroque violin, viola d'amore, a second baroque cello, baroque oboes, baroque bassoon, lute and organ.
All the concerti comprise three movements, with the middle one slower in tempo. The opening Concerto in G for 2 cellos has crisp orchestral accompaniment with rasping, sometimes husky cellos to the fore giving a fresh feel to this well-known piece. The Concerto in B flat major is a delightful set, with Ma's rich playing on the largo sandwiched between two sparkling allegri. The third concerto is a work written for viola and lute, but transcribed here for cello and chamber organ - an arrangement which works surprisingly well. After a grand opening movement a gently soothing largo is followed by a lively dancing finish. The final concerto is rather different in mood and tempo from the others, starting in a sombre and reflective mood with the opening and closing allegri being decidedly 'non molto'.
Great music usually transcribes well and the largo from Winter (The Four Seasons) makes a smooth transition from violin to cello, with Ma giving it a relaxed feel against a gently throbbing accompaniment. The remaining works were all originally written for the female voice, with the vocal parts played by the cello and a variety of other instruments - the interplay between the soloists being particularly noteworthy.
Overall there is some excellent playing in baroque style on an enjoyable CD which I can recommend, but I have two minor quibbles. First is that there is an imbalance in the programme, which starts off alternating between a concerto and a transcribed 'lollipop' until it runs out of concerti and finishes with four consecutive vocal transcriptions. I would have preferred another concerto at the expense of a couple of these. Finally, I would like to know something about the instrument on which Koopman was playing the organ part, but no details are given.
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