La Cetra may not be as well known or as frequently recorded as either Vivaldi's Op. 8 (including the Four Seasons) or Op. 3, L'Estro Armonico, but it is well worth having in your collection...
The Italian ensemble I Virtuosi di Roma's long tradition of performing classics of the Italian Baroque pioneered in many ways the contemporary revival of early music. When its founder, Renato Fazzano, passed away the group disbanded, but a regrouping of sorts took place in the early 80s with eight members of the original group. The new ensemble, which calls itself I Solisti Italiani, has continued the Fazzano legacy, emphasizing line and grace in presenting particularly the works of Vivaldi.
If one tends to associate Albinoni, the Venetian-born contemporary of Vivaldi with the infamous and spurious Adagio, or at least a handful of his authentic oboe concertos, it is worth noting that he also wrote some 55 operas and nine opuses worth of instrumental pieces. Among these are the twelve Trio Sonatas, op. 1  […] In all ways, these are splendid performances, beautifully articulated, sensitive as to dynamic contrasts, carefully guaged rhythmically […] The players catch the gravity of the slow movements especially well, often with a Corellian sweetness […] The reproduction of the instruments, fairly high in level, is bright but wonderfully clear in a natural acoustic. (Igor Kipnis, Goldberg)
During the eighteenth century music publishers, and occasionally composers themselves, adapted sonatas originally intended for string instruments, for wind instruments. The adaptation of Albinoni's violin sonatas for woodwind instruments has a historical precedent set by one of the great musicians of the French Baroque. The composer, flautist, bassoonist, gambist and instrument maker Jacques Hotteterre Le Romain (c. 1680-1761) adapted some of Albanian's violin sonatas for the flute….