contains many echoes of the sonata in the same key of F major (RV69) from Vivaldi’s Op 1, which in turn is beholden to the Gavotta of Corelli’s Op 5 No 10. This sonata contains fine examples of both ‘imitative’ and ‘figurational’ bass lines. It is a work in which Vivaldi shows especial subtlety in the phrasing of the violin part. He was a pioneer in the skilful manipulation of the bow for special effect. No aspect of the bowing for this sonata is remarkable in itself (that comes later in Vivaldi’s career!): what impresses, rather, is the variety of bowing directions for notes of the same value within the same movement, where other composers were still most often content to use a single, unvaried formula.
from notes by Michael Talbot © 2004