On the German CPO website, this CD of Händel’s two most popular
orchestral works, is introduced by a question: Mit einer Neueinspielung
der Wasser- und Feuerwerksmusik von G. Fr. Händel noch jemanden
hinter dem Ofen hervorlocken - geht das? – which more or less
means: ‘is a new recording of Händel’s Water Music and Music for
the Royal Fireworks still capable of luring anybody to sit by
the fire and listen to it?’ My first reaction when I received
the CD, was that no, nobody will be attracted to buy yet another
recording of the same two “over” performed works. However, once
I listened to it the first time, I must confess that I changed
my mind and answered CPO’s question with a resounding “yes”, even
though I am not a fan of Baroque orchestral music in general and
Händel’s in particular. I much prefer his operas, which are true
masterpieces of the period and appeal more to my personal musical
taste.
Both Water Music
and Music for the Royal Fireworks were works devised
to be played out of doors, scored to ensembles with large numbers
of woodwinds and brasses, which would have a greater impact
on an open-air performance. When he wrote Water Music
in 1717, Händel had already been living in England for approximately
five years and was well acquainted with the taste of the English
public. The set of suites that form Water Music are little
gems with delicately sculpted music and subtle orchestral writing,
which the composer perfectly mastered. Händel composed this
set of short, festive pieces for a party given by King George
I on the margins of the Thames on 17th July 1717,
hence, from the time of their publication, they became known
as “Water Music”.
Music for the
Royal Fireworks was composed much later and resulted from
a special commission. Händel was asked to write music
to celebrate the signing of the Treaty of Aix-la-Chapelle that
ended the Austrian Succession War in 1748. As such, the work
had to be grandiose, dazzling and spectacular. Händel did not
disappoint. Music for the Royal Fireworks consists of
five movements, the first being a majestic overture, followed
by a lively bourrée, then a quieter, peaceful movement,
suitably named La Paix, immediately followed by the most
famous part, the sparkling La Rejouissance; the piece
then ends with two minuets.
This CD does not
bring out anything as yet undiscovered about Händel’s music,
however what it does do is delight with a very fine performance
of two of his most popular and enduring works. The celebrated
Italian ensemble, L’Arte dell’Arco, founded by Federico Guglielmo
who also performs and conducts, play on period instruments.
They manage to give the pieces a fresh treatment, performing
with great clarity and delicacy. Their version is not one that
would sound good outdoors but one suited instead to an intimate
concert hall, a more traditional combination of strings and
winds, evenly distributed and well balanced. They play with
precision and obvious care, perfectly conveying the festive,
rejoicing character of Händel’s music while expressing their
own pleasure in delivering it. Their interpretation is remarkably
genuine, partly due to the period instruments but mostly to
the individual commitment of each of the ensemble’s members
to follow what they believe the composer would have wanted to
hear. The group excels in both works but their performance of
Music for the Royal Fireworks was my favourite. The delivery
of each movement is thoughtful, yet brimming with spontaneity,
and their interpretation of the most celebrated (and the most
performed) of all the movements, La Rejouissance, is
luminous, suitably glorious and demonstrative of immense joy.
I felt almost as if I were listening to the work for the very
first time, which in itself is an incredible achievement.
The notes on the
booklet accompanying the CD also deserve to be mentioned. They
were written by Federico Guglielmo, director and founder of
L’Arte dell’Arco. He describes the concept of the recording
and how he and the ensemble view the music and their interpretation.
This is set against the historical background of the time when
Händel composed the pieces, with extracts of reports from contemporary
newspapers. It makes not only for informative, interesting but
also entertaining reading.
The sound on the
CD is excellent throughout and great care was taken in recording,
editing and engineering. It will be excellent no matter where
it is heard but if one has SACD equipment, this hybrid disc
becomes even more of a treat. It has a crystalline quality and
a brilliance of sound that make the pieces distinctively beautiful
and effectively soothing. So, if I may return to the initial
question on the CPO German website: ‘is a new recording of Händel’s
Water Music and Music for the Royal Fireworks still capable
of luring anybody to sit by the fire and listen to it?’ – I
will have to say most emphatically that it certainly is, particularly
on some dark, depressingly cold and damp winter night. It will
warm you even without a fire!
Margarida
Mota-Bull
Ensemble L’Arte
dell’Arco on period instruments/Federico Guglielmo 
[66.05] 
