George Frideric HANDEL (1685-1759)
Suites for Harpsichord - volume 1
Suite in D minor, HWV 428 [24:52]
Suite in A, HWV 454 (c.1705) [13:58]
Suite in E minor, HWV 438 [8:07]
Suite in C, HWV 443 (before 1707) [27:12]
Suite in G minor, HWV 439 [17:15]
Suite in G, HWV 441 [21:49]
Suite in E minor, HWV 429 [16:30]
Suite in E, HWV 430 [14:50]
Gilbert Rowland (harpsichord)
rec. Holy Trinity Church, Weston, Hertfordshire, England, 5-8 July 2010.
DIVINE ART DDA 21219 [74:57 + 71:34]
Suites for Harpsichord - volume 2
Suite in G minor, HWV 432 [24:01]
Suite in D minor, HWV 437 (C.1706) [13:58]
Suite in F, HWV 427 [9:34]
Suite in F sharp minor, HWV 431 [10:44]
Suite in B flat, HWV 434 [9:05]
Suite in G, HWV 450 (before 1707) [13:49]
Suite in C minor, HWV 444 [10:16]
Suite in F minor, HWV 433 [14:19]
Suite in D minor, HWV 436 (?1726) [16:19]
Chaconne in G, HWV 435 (revised 1726) [12:15]
Gilbert Rowland (harpsichord)
rec. Holy Trinity Church, Weston, Hertfordshire, England, 9-12 July 2012.
DIVINE ART DDA 21220 [67:22 + 66:58]
In the best possible sense, Handel was never predictable. To take his keyboard
suites as an example: whilst one lasts a mere eight minutes, the next runs
to 27; movements number typically five or six, but others have as few as
three; the dance forms of tradition rub shoulders with innovative preludes,
sonatas and adagios. For the four-movement suite HWV 427, dances are even
dispensed with altogether, whilst the finale of HWV 443 is a chaconne with
an astonishing 49 variations on one of Handel's most popular melodies.
In all, there are around 25 extant keyboard suites. Two collections were
published during Handel's lifetime, the 'Eight Great Suites' of 1720 and
the six suites comprising the 'Second Collection' of 1733. The rest are
known rather modestly as the 'Miscellaneous Suites'. Dates of composition
are sometimes conjecture, but range from the first decade of the 18th century
to as late as 1739.
These are the first two of likely three double-disc volumes from Scottish
harpsichordist Gilbert Rowland, in marvellously detailed productions from
Divine Art. Rowland's complete recording of Antonio Soler's sonatas on 13
CDs for Naxos was rightly met with critical acclaim. This cycle is destined
to find similar degrees of approbation. Handel's music is so overwhelmingly
communicative and all-round glorious that a performer of Rowland's calibre
could almost get away with playing in gloves. In fact, he combines amazingly
graceful virtuosity with original filigree and huge experience to give readings
that all listeners should respond to. The two-manual period replica harpsichord
(1750) has a sweet, rounded sound and action that react superbly to Rowland's
texturising touch and Handel's illuminative imagination.
Rowland's own notes for the trilingual booklets provide a paragraph or two
of good detail in limpid language on each work. Though these sets were recorded
two years apart, Rowland et al have sensitively used not only the
same venue but recorded at the same time of year, giving audio that is consistent
as well as generally pleasing.
Those ill-advisedly intending to invest in only one volume will have to
choose between turquoise and mauve - that is, on the basis of cover colour,
because both items are equally excellent in all other regards. Each album
ends aptly in memorable style: volume 1 with the Suite in E, HWV 430, the
last movement of which throws up one of Handel's most popular tunes, known
as the 'Harmonious Blacksmith' (albeit not to Handel). Volume 2 meanwhile
finishes with the well-known and emphatic Chaconne in G - self-evidently
not a suite but published in the 1733 collection.
Byzantion
Contact at artmusicreviews.co.uk
In the best possible sense, Handel was never predictable.
See also review of Volume 1 by Brian
Wilson
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