The early 1730s were a difficult
stage in Handel's career. There was a growing aversion against
Italian opera, and an increasing interest in dramatic works
on English text. A rival opera company was founded, which attracted
most of the singers who used to sing in Handel's productions.
There was also a trait of nationalism in the opposition against
Handel, as his German birth was specifically mentioned in negative
articles in the press.
As a result Handel's attention
increasingly shifted to the composition of English oratorios.
In order to attract audiences he introduced a new phenomenon:
the organ concerto. It wasn't the first time that he composed
an orchestral work with a solo part for the organ. His oratorio
'Il trionfo del Tempo e del Disinganno', which received its
first performance in Rome in 1707, begins with a 'Sonata' for
oboes and strings with solo organ. Handel started to play organ
concertos during the intervals of his oratorio performances
in 1735. The attempt to regain his popularity seemed not to
be very successful at first. A newspaper wrote that during a
revival of his oratorio Esther (first performed in 1718), he
"has introduced two Concertos on the Organ that are inimitable.
But so strong is the Disgust taken against him, that even this
has been far from bringing him crowded Audiences."
Later in 1735 a new organ was made
for the Covent Garden Theatre, which was first played by Handel
during performances of Deborah. Handel's supporters were deeply
impressed, as one wrote that "no entertainment in music
could exceed it, except his playing on the organ in Esther,
where he performs a part in two concertos, that are the finest
things I ever heard in my life."
These early concertos were published
by Walsh in 1738 as opus 4. As they had to be playable to a
wide circle of musicians, including skilled amateurs, the publication
can only give a faint idea what Handel's own performance must
have been like. Charles Burney wrote that "he rather chose
to trust to his inventive powers, than those of reminiscence:
for, giving the band only the skeleton, or ritornels of each
movement, he played all the solo parts extempore, while the
other instruments left him, ad libitum."
The publication of the organ concertos
had great success. One may assume, considering the fact that
music was played in many venues, including private homes, small
concert halls and taverns, that these concertos were also frequently
performed. It is from this perspective that this recording has
been made. This means that most concertos are played with one
instrument per part, and that the organ is rather small. Its
disposition is not the same as that of the organ in the Covent
Garden Theatre which Handel used, but has still enough possibilities
to allow a differentiation in colours.
The challenge to the soloist is
to give at least some idea of what the solo part must have sounded
like under Handel's hands, without pretending to emulate his
performances. In this recording Matthew Halls gives an impressive
interpretation, with much creativity and imagination, both in
his ornamentation and the playing of cadenzas. Only in some
instances I find that he uses the same ornaments a little too
often, for instance when a phrase is repeated. But otherwise
I am very happy with this performance. The instrumental ensemble
is playing at the same level throughout. The scoring with mostly
one instrument per part allows Monica Huggett to add some ornaments
of her own. In the Concerto no. 3 the violin parts are doubled.
I can't figure out why, since the booklet doesn't give any reasoning
for that. The tempi are well-chosen; only the last movement
of the 1st Concerto is a little faster than the tempo-indication
'andante' suggests.
To sum up: this is an enthralling
and wholly convincing recording of Handel's organ concertos
opus 4, and gives more than just a hint of the genius Handel
was.
Johan van Veen
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