Plenty of modern violinists have profitably adopted techniques from the historical performance movement, but this outing by , also leading the , was sufficiently novel to place the album on classical charts in the spring of 2024. borrows the quick tempi (in the outer movements) and agile bowing of historically oriented players to good effect, and his slow movements are genuinely intense; he is willing to take intonational risks and pulls them off. He also used one instrument per part from the , which is less good; images of performances from 's time show a larger group, and the Italian concertos that served as 's models might have had 40 to 60 players. It must be said, however, that uses the one-per-part force effectively as part of his overall chamber conception of the music, which is lively and varied; there are plenty of interesting interactions with the continuo as well. Despite the historical influences, ' readings might be called Romantic; it is as if had somehow lived long enough to become aware of the historical performance movement. These are expressive performances that will appeal to listeners of various kinds. ~ James Manheim