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This is not your grandfather’s Vivaldi—actually, it’s hard to say whose it is. Kick-starting a new Baroque performing tradition is not an easy task, and Il Giardino Armonico has enough period-instrument abrasion and in-your-face engineering to make Nikolaus Harnoncourt sound like Mantovani. The ensemble’s emphasis on dissonance and eccentric, shock-tactic phrasing are sure to offend the purists and the Martha Stewart camp alike, but they might just find a niche in the postpunk ’90s. But didn’t that classical bad boy Stokowski cover this ground on all those Phase-4 LPs in the ’60s?