La stravaganza was Vivaldi's second published set of concertos and was issued sometime between 1712 and 1715. In a characteristically interesting and informative note Michael Talbot explains that La stravaganza or ''Extravagance'' should be understood as wandering outside the boundaries of convention in respect both of melody and harmony. Unlike the earlier L'estro armonico (Op. 3), La stravaganza contains only concertos for solo violin though occasionally, as for example in the seventh concerto Vivaldi brings additional instruments to the fore. Perhaps the set is a little uneven in quality but the finest things here should fire the imagination and arouse the passions of most listeners.
For all the charges of unacceptable schematicism levelled at Vivaldi and his kind, Monica Huggett, as supremely imaginative as well as technically and stylistically accomplished an exponent of the baroque violin as any, demonstrates clearly that this music benefits from the guiding hand of a charismatic interpreter: her delivery of Vivaldi’s exuberant, even manic, inspiration is never less than involving and, in the slow movements, never less than touching.
It is only recently that two seemingly unconnected names, those of Vivaldi and the viola da gamba, have been uttered in the same breath. The established, uncontested view on the matter was quite simply this: from the middle of the 17th century, the viol, which was still flourishing north of the Alps, had all but disappeared in Italy, where it had been replaced by the bass violin and, subsequently, by the cello.
After recording Vivaldi's set of Violin Concertos 'La Stravaganza', Opus 4, in 2003, Rachel Podger has been immersed in music by Mozart and Bach on disc. But it has now felt right to come back to the Venetian Maestro, whose sense of drama she adores: “This time I chose his opus 9, the set of 12 Violin concertos entitled 'La Cetra'. There are plenty of jewels in this set, just as in 'La Stravaganza', with even higher technical demands made on the soloist including many, often exotic experimental effects.”
La stravanganza is a set of concertos, op. 4, written by Antonio Vivaldi in 1712-1713. All of the concertos were scored for solo violin, strings, and basso continuo; however, some of the movements in the concertos require extra soloists (like a second violin solo and/or a cello solo). What is perhaps most extraordinary about "La stravaganza" is Vivaldi's remarkable inventiveness within a defined framework of instrumental and harmonic forces.