Julien Chauvin (violin/director) and his ensemble, Le Concert de la Loge, have two new releases this week. In this review, we’ll be looking at Volume 10 of the Vivaldi violin concerto series from Naïve that features a set of 6 concertos tied to Georg Pisendel, the contemporary violinist of some fame from Dresden. It’s not the first time the series has focused on Pisendel-related concerti. In this case, three concertos were written by Vivaldi for Pisendel; three others were copied by Pisendel during his visit to Venice, where it’s believed the two violinist-composers met.

One of the more interesting concertos is the last one on disc, RV 340, which features a third-movement cadenza that Vivaldi wrote for Pisendel. The piece seems to deflect from other mainstay features in Vivaldi’s concertos as well. The first movement could almost be one of his sinfonias or concertos for strings, except that a solo part seems interjected that takes on new material. The middle movement is perhaps more finely wrought than is typically done for Vivaldi’s slow movements with a solo that leaves a lot for rhetorical weight. The third movement is a study of rising and falling figures that are taken up by both the ensemble and soloist. The use of the upper register is but one of three effects Vivaldi uses to up the ante with virtuosity. The other tools he has are present in some of the other concertos, namely double stopping and bariolage.

In RV 225, there’s double stopping that appears in the first movement. Chauvin and company do well with the numerous dynamic contrasts that Vivaldi writes; there are elements of this concerto that remind me a lot of another earlier recording, but I can’t say for sure that it’s the same concerto. It may well be that Vivaldi has done here where he’s done elsewhere to re-use some thematic cells in his construction of this piece’s solos and ritornellos. There are some back-and-forth effects between the first and second violins which are rendered well here by placing the two groups on either side of the stage.

RV 226 features a very short introduction/ritonrello before the soloist comes in all hell-bent on double stops. I have a recording of this piece by Lina tur Bonet and Musica Alchemica, who is known for her fire and exciting interpretations. Chauvin pushes her with faster tempi and more obvious contrasts with dynamics. Both recordings are good, but I much preferred the newer one by Chauvin. Musica Alchemica uses a sassy guitar in the continuo which lends their recording a more Spanish flavor.

RV 237 is the only minor-keyed concerto on this recording and uses barlioage as its virtuosic technique; this concerto also reminds me of Vivaldi using a pastiche effect by re-using themes from other concertos. The recording by Stefan Plewniak (2019) is also very strong, but Chauvin’s has a richer contrast again in dynamics. Zsolt Kalló’s recording (2014) pushes the tempo on Chauvin, but the solo passage is not as rhythmically-sure. While the speed is breathtaking, I think I prefer Chauvin’s reading the best. The third movement is notable for pushing the gamut of the violin into the stratosphere (for the time) which required higher positions with the left hand.

Of all the Vivaldi Concerto recordings in this series, this is one of the most consistent and all-around well-played. Chauvin is an excellence violinist who comes across in a well-produced recording strong with a very even, consistent tone. His playing shows no weaknesses with all of Vivaldi’s virtuosic tricks. There is a closeness to the sound that reveals his fingers hitting the fingerboard which speaks to the close miking used, but it’s the only real flaw to the recorded sound.

I’ve gotten on my soap box before about cadenzas in Vivaldi’s concertos. Many concertos have a hook to allow the soloist to insert a cadenza and in almost every case every HIPP ensemble doesn’t go for it. In the first concerto I mention, RV 340, we have a Vivaldian example. It’s conceivable that Pisendel wouldn’t have seen this one example as an outlier. The flavor of Vivaldi’s cadenza naturally brings us a reminder of Locatelli’s opus 3 concertos with their caprices. I’d love to see HIPP groups start to try some of their own. While that didn’t happen here, Chauvin’s performance of Vivaldi’s own cadenza is excellent.

All around an excellent CD that for me demonstrates the pragmatics of Vivaldi’s compositional style. His re-use of familiar material into a new package, seemingly tailored to the technical prowess of one of Germany’s best violinists, allowed him to export his signature style to Dresden that likely contained enough technical challenges to delight and inspire audiences. It’s rare that we get such consistent performances like these across an entire disc. These folks are on point. Highest recommendation.