I very much liked the recordings of these pieces with Boston
Baroque conducted by Martin Pearlman on Telarc, to the extent
of splashing out on the other volume in their two disc edition.
Had I known my silent prayers would be answered by being sent
this new set of Handel’s Concerti Grossi Op.6 I might not
have been quite so precipitate, but I haven’t regretted completing
the Telarc set, thus far.
Wondering why Martin
Gester’s recordings require 3 discs rather than two, it is soon
quite clear that all of the timings of every movement are longer
in the Bis set. Some of this is due to a more expansive feel
for line, a willingness to linger over pauses and allow the
gorgeous sonorities of Arte dei Suonatori’s excellent musicians
free rein within the pleasantly resonant acoustic in which they
find themselves. Indeed, the ‘Radio Hall’ location may not sound
very promising, but if anyone were to tell you the setting was
some beautiful 18th century church you would believe
them immediately. I took one extreme example, the first movement
of the Concerto Grossop Op.6 No.8, as this is 6:26 in
the Bis recording to 2:32 on Telarc. As you might expect, Pearlman’s
tempo is a good deal swifter, and while he observes the first
repeat the second is missed out. There are arguments on both
sides, and in live performances I’ve often found myself willing
the conductor not to turn back a whole wodge of pages so we
have to go through many minutes of music for a second time.
Here, not only does Martin Gester make the music seem like an
entirely different piece, but I would happily sit through any
amount of repeats with this kind of playing. There is some variation
of course; the theorbo continuo having the chance to extemporise
under the strings a little more second time around, though by
the time the massed violins get going there precious little
else you can hear. There are far more layers going on in the
Bis recording however, and more transparent movements like the
following Grave have great depth, harpsichord and lute
providing a sparkling bed over which the strings can soar and
sigh.
Martin Gester’s
choice of tempi may be broader than some, but none of them are
in any way controversial, and while there is a nice spontaneous
feel to the playing there are no over-extended and self-indulgent
improvisations. While I still quite like the Boston Baroque
recording, this new one from Bis wins on every level. Staying
with the No.8 concerto, the Boston players sound flat
and dull when compared with Gerster’s heartrending harmonic
emphases in the Adagio, and the dancing rhythms in the
Siciliano bounce with elegant grace, where from Boston
they are rather stretched and lacking in articulation. Their
final Allegro has plenty of punch and drive, but Gester’s
tempo is a good deal faster, generating more contrast and excitement.
I’ve only dealt
with one concerto so far, but what is true for one remains the
case for the rest. There are some differences in interpretation
as well, but these are more a case of swings and roundabouts
– the organ notes held down in the opening of No.9 with
Gester for instance, given separated articulation with Pearlman;
that kind of thing. The Arte dei Suonatori certainly has the
more ‘authentic’ sound, with a previously mentioned rich continuo
which would be as much at home in a church cantata by J.S. Bach
as in a secular entertainment such as these concerti. The string
sound is also sharper and clearer, with that early music ‘bite’
we like to hear these days. The recording is also superb – very
dynamic, and marvellous enough in stereo. The SACD effect reveals
even more subtlety, and allows you to don the music like a favourite
old coat – one which you thought you’d lost but turned out to
have been well looked after, dry cleaned in fact, by the posh
restaurant where you last saw it. There is a slight rumble in
the acoustic, which pretty much vanishes as the music kicks
in and is in no way disturbing – just that the background silence
is not quite as inky black as our digital-tuned ears have more
often than not been lead to expect.
I could bore on
about the delicate little syncopations which grace the sheer
energy of the Allegro e forte second movement of No.1,
the understatedly moving grandeur of the opening Andante
larghetto of No.2, the graceful ‘messa di voce’ inflections
which give gentle power to both of the slow movements in No.4,
or all of those noble dances that make you want to advance,
recede and spin in sociable synchronisation with a dozen of
your neighbours. I just have to admit it, this is the best set
of Handel’s Concerti Grossi Op.6 I know; Hogwood and
Harnoncourt included. With the added benefit of SACD spaciousness
it’s what any self-respecting purveyor of classy classics would
call ‘a winner’.
As mentioned before,
this set is spread of the three discs rather than two. This
however is not a serious issue, as Bis are offering this set
as a ‘3 discs for the price of 2’ offer, which has to be something
of a bargain with music making and recording of this quality.
Presentation is no slouch either, though the promisingly academic
thickness of the nicely written and detailed notes booklet turns
out more the result of their having been translated into German,
French and Polish. All of the favourite highlights and best
known movements sing and dance across your speakers with glorious
vitality, through you will almost certainly find yourself responding
with equal and perhaps even more delight to some of the less
famous parts of this set of baroque masterpieces. Don’t accept
second best, sir; insist on Gester!
Dominy Clements
Arte dei Suonatori/Martin
Gester 
[3 CDs: 62:32 + 72:03 + 29:04] 
