Document

  1985
    December 1985
        Chamber Music
                Handel Sonatas.

Handel [Sonata] Sonatas for Flute and Continuo, "Halle"—No. 1 in A minor; No. 2 in E minor; No. 3 in B minor. Sonata in E minor, Op. 1 No. 1a. Sonata in D major. William Bennett (fl) Academy of St Martin in the Fields Chamber Ensemble (Denis Vigay (vc) Nicholas Kraemer (hpd)).

Philips (Full price) (CD) 412 606-2PH. From 6514 096 (8/82).

Handel [Sonata] Sonatas for Recorder and Continuo, Op. 1—No. 2 in G minor; No. 4 in A minor; No. 7 in C major; No. 11 in F major. Sonata in B flat major. Sonata in D minor. Michala Petri (rec) Academy of St Martin in the Fields Chamber Ensemble (Denis Vigay (vc) Graham Sheen (bn) George Malcolm (hpd)).

Philips (Full price) (CD) 412 602-2PH. From 412 444-1PH5 (7/85).

Handel [Sonata] Sonatas for Violin and Continuo, Op. 1—No. 3 in A major; No. 6 in G minor; No. 10 in G minor; No. 12 in F major; No. 13 in D major; No. 14 in A major; No. 15 in E major. Fantasia in A major. Sonata in D minor. Sonata in D minor. Iona Brown (vn) Academy of St Martin in the Fields Chamber Ensemble (Denis Vigay (vc) Nicholas Kraemer (hpd)).

Philips (Full price) (CD) 412 603-2PH2 (two discs, nas). From 6769 022 (4/83).

Handel Oboe [Sonata] Sonatas—C minor, Op. 1 No. 8; F major, Op. 1 No. 5; B flat major. All from 412 444-1PH5 (7/85). Trio [Sonata] Sonatas—F major for two recorders and continuo; E minor for two flutes and continuo. Sinfonia in B flat major for two violins and continuo. All from 412 439-1PH4 (4/85). Neil Black (ob) Academy of St Martin in the Fields Chamber Ensemble.

Philips (Full price) (CD) 412 598-2PH.

These five CDs of Handel chamber music contain performances which have already been issued in LP format. The most extensive area of the repertoire lies in the nine violin sonatas and a 'fantasia' in A major which are accommodated on two CDs. It is very unlikely, however, that all of these are Handel's own work but their history is too complicated to go into here. almost all is fully explained in the notes but I could find nothing about the 'fantasia'. Iona Brown plays with liveliness and sensitivity though at times, perhaps, without much sense of personal commitment to the music. That impression is conveyed most strongly in the fast movements which sometimes yield too strong an imprint of routine efficiency. Her vibrato is well controlled, her intonation dependable and her tempos, for the most part well judged; and she is well supported by her continuo partners. In short, these are sufficiently stylish middle-of-the-road performances to give pleasure to most listeners. I particularly enjoyed the longer of the two D minor Sonatas, which I had previously known best as a recorder work but which suits the violin very well.

The authenticity of some of the flute music, too, has for some considerable while been called into question. Unlike the violin sonata programme, however, william Bennett plays only the sonatas of which Handel's authorship either is certain, or, in other instances, likely. His recital includes a D major Sonata which has been discovered comparatively recently. Bennett gives spirited and incisive performances which, together with his characteristically warm, rounded tone make for satisfying listening. It seems to me, too, that his vibrato, which I sometimes find an intrusive element in ensemble, is more tightly controlled here. I liked most of his tempos though found the opening movement of the Op. 1 Sonata in E minor lacking in poise.

Handel's treble-recorder sonatas with Michala Petri are the most recent additions to the catalogue from amongst these issues. She plays the four well-known sonatas from Op. 1 as well as a D minor work (the same sonata as Iona Brown includes in her violin anthology), and another in B flat. These are virtuoso performances and not only by Petri herself but also by George Malcolm (harpsichord). I liked the various use of bassoon and cello as continuo instruments but find some of the keyboard embellishments and changes of registration a little distracting and not wholly convincing. But, as I say, these are dazzling performances by all concerned.

The remaining CD contains three authentic oboe sonatas by Handel and three trio sonatas which belong neither to the Op. 2 nor Op. 5 sets but are works which have only come to light comparatively recently. Both the C minor and B flat Oboe Sonatas will be known to most Handel lovers in these forms but the F major one will still be more familiar in its G major version for transverse flute and continuo (Op. 1 No. 5). It's a splendid work and, along with the others here, is affectingly played by Neil Black. His performances are admirable in a great many respects and he imbues each and every one of these movements with warmth of tone and affection for the music. The trios consist of two for two treble recorders and continuo and a third for two violins and continuo. This is altogether a delightful programme and if I had to choose one of these CDs to live with I think it would be this one. all of them are very well recorded and thoroughly documented but I detected some drop in pitch during the vivace of the D minor Sonata of the recorder sonatas.

NA



		These five CDs of Handel chamber music contain performances which have already been issued in LP format. The most extensive area of the repertoire lies in the nine violin sonatas and a 'fantasia' in A major which are accommodated on two CDs. It is very unlikely, however, that all of these are Handel's own work but their history is too complicated to go into here. almost all is fully explained in the notes but I could find nothing about the 'fantasia'. Iona Brown plays with liveliness and sensitivity though at times, perhaps, without much sense of personal commitment to the music. That impression is conveyed most strongly in the fast movements which sometimes yield too strong an imprint of routine efficiency. Her vibrato is well controlled, her intonation dependable and her tempos, for the most part well judged; and she is well supported by her continuo partners. In short, these are sufficiently stylish middle-of-the-road performances to give pleasure to most listeners. I particularly enjoyed the longer of the two D minor Sonatas, which I had previously known best as a recorder work but which suits the violin very well.



		The authenticity of some of the flute music, too, has for some considerable while been called into question. Unlike the violin sonata programme, however, william Bennett plays only the sonatas of which Handel's authorship either is certain, or, in other instances, likely. His recital includes a D major Sonata which has been discovered comparatively recently. Bennett gives spirited and incisive performances which, together with his characteristically warm, rounded tone make for satisfying listening. It seems to me, too, that his vibrato, which I sometimes find an intrusive element in ensemble, is more tightly controlled here. I liked most of his tempos though found the opening movement of the Op. 1 Sonata in E minor lacking in poise.



		Handel's treble-recorder sonatas with Michala Petri are the most recent additions to the catalogue from amongst these issues. She plays the four well-known sonatas from Op. 1 as well as a D minor work (the same sonata as Iona Brown includes in her violin anthology), and another in B flat. These are virtuoso performances and not only by Petri herself but also by George Malcolm (harpsichord). I liked the various use of bassoon and cello as continuo instruments but find some of the keyboard embellishments and changes of registration a little distracting and not wholly convincing. But, as I say, these are dazzling performances by all concerned.



		The remaining CD contains three authentic oboe sonatas by Handel and three trio sonatas which belong neither to the Op. 2 nor Op. 5 sets but are works which have only come to light comparatively recently. Both the C minor and B flat Oboe Sonatas will be known to most Handel lovers in these forms but the F major one will still be more familiar in its G major version for transverse flute and continuo (Op. 1 No. 5). It's a splendid work and, along with the others here, is affectingly played by Neil Black. His performances are admirable in a great many respects and he imbues each and every one of these movements with warmth of tone and affection for the music. The trios consist of two for two treble recorders and continuo and a third for two violins and continuo. This is altogether a delightful programme and if I had to choose one of these CDs to live with I think it would be this one. all of them are very well recorded and thoroughly documented but I detected some drop in pitch during the vivace of the D minor Sonata of the recorder sonatas.