For both string concerti, this has become my favorite recording, replacing I Musici and Scimone's band. In contrast to the grave press of the string concerto, the oboe concerto comes over like lambs in spring. I have no idea. Paul Goodwin has mastered the baroque oboe to such an extent, it sounds as in tune and smooth-toned as a modern one. Goodwin does so well, in fact, that I began to wonder about the need for a baroque oboe at all, since I indeed couldn't tell the difference.
Soloists are uniformly excellent.
Bassoonist Alberto Grazzi swaggers and croons his way through his concerto, the first movement of which is filled with odd little stops and slowdowns - a Vivaldian fingerprint, especially when he wants to suggest the supernatural. I know little of the history of the work to pronounce definitively, however. I can, on the other hand, say that these points in the score definitely grab one's attention, and they're difficult to bring off with breaking down altogether. Pinnock and his players never drop the thread. Peter Holtslag and his sopranino recorder do their best to imitate birds, tossing off warbles and chirrs, clear and distinct as unset diamonds.