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Site review by Geohominid November 16, 2008
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Performance: Sonics (S/MC): / |
I have to agree with a remark in the authoritative notes for this set that Handel's Op. 6 Concerti Grossi are the composer's finest instrumental works, ranking alongside JS Bach's Brandenburg Concertos at the zenith of the High Baroque. Inspired by Corelli's set, Handel's 12 concertos are unfailingly and astonishingly imaginative, with seemingly inexhaustible fertility of invention. A concertante (solo) group of two violins and two cellos, and a supporting group of strings and continuo (ripieno) makes up the band, and the concertos are collections of up to 6 short pieces, mainly dances of various types, some of them specified, such as Polonaise, Gigue, Musette, Minuet, Siciliana and Hornpipe. Handel seems to have had a direct line to Terpsichore when composing, just as did Arte dei Suonatori when producing this marvellous performance.
Usually, the Op. 6 concertos fit onto two discs, but in this boxed set there are three (for the price of two). The reason for this is that the tempi set by director Martin Gester are often somewhat more relaxed than on other sets (which can sometimes seem overdriven at times). More importantly, Arte dei Suonatori are most generous in their offering of delectably varied repeats. Thus the last disc contains two of the concerti. However, tempi in this set never seem sluggish in any way, and the whole impression is of vividly crisp dynamic and lilting playing, seemingly as natural as the wind. Solos are played with virtuosic élan and considerable wit, and they make a vibrant dialogue with the ripieno group, which is the whole point of the concerto grosso form.
Arte dei Suonatori's violins have a bright silvery sound; middle and lower strings are trenchant in the rosiny sound of their gut stringing. The group's ensemble has pinpoint precision, with violins divided left and right to make the most of Handel's antiphonal fun. A major feature of this set is the parity of the continuo group with the rest of the performers. Too often they are discreetly relegated to the back of the ensemble, but BIS's impeccable recording lets one hear the harpsichord, organ, archlute and theorbo contributions clearly. Their players add attractive but never fussy comments and ornamentations at suitable moments, all perfectly HIP. This adds considerably to the tonal colour of these concertos and contributes to the glowing personality of their performance. At every turn of the page in the score, there are new and often astonishing effects, sumptuous melodies or dramatically surprising contrasts. Despite there being only one double bass, there is plenty of resonant support from the hall, which combines with the low cellos and the long strings of the archlute to give a richly sonorous deep foundation for the band.
This collection of the traditional dozen concertos was never intended to be listened to as a complete sequence, but I found myself unable to stop until the last notes had sounded. Just about everything sounds natural and right here, and for lifting the spirits, this set is better than a bottle of tonic. The recording is one of the best from BIS, with a measured amount of ambience from the Radio Hall in Wroclaw, Poland and a perfectly focussed, wide sound stage which matches the session photo in the booklet perfectly. This issue has gone to the top of my personal list of Best Recordings of 2008, and I urge lovers of Baroque music to acquire it, even if they already have an Op.6 set.
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Copyright © 2008 John Miller and SA-CD.net
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Review by garthoz November 26, 2008 (6 of 7 found this review helpful)
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Performance: Sonics (MC): |
What a delicious experience this set is. The music must rate with Handel's best, the performance is first class and the recording is of a very high standard. I find myself returning to these discs over and over for a refreshing and entertaining experience; I'm confident that any lover of baroque music would be similarly engaged. This is an authentic period performance on period instruments. Any one looking for a sweet, melodic and romantic style presentation will be disappointed. The presentation demands your attention and opinion; you will not be bored. The continuo section comprising double base, and variously harpsichord or organ and the wonderful sounds of the theorbo or archlute. This section is by no means in the background as in some performances on vinyl decades ago, but contibutes up-front to the crispness and intimacy of the sound. One can imagine Mr. Handel himself directing things from the harpsichord or organ. The strings, and notably the violins are suitably bright, steely and free of vibrato.
I have listened only to the multichannel track of this set. The recording is a touch on the bright side but this only complements this style of music. The front/centre channel is quite strong in comparison to all my other SACD's but I welcome this and find that it helps to build up the solidarity of the sound. The rear/surround speakers provide sufficient ambience to give good depth and width to the sound stage.
So this set is a worthy companion to my other baroque SACD treasures, namely, Vivaldi "La Stravaganza" (also Arte Dei Suonatori) and Handel Concerti grossi Op.3 Academy of Ancient Music.
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Review by JJ November 15, 2008 (6 of 7 found this review helpful)
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Performance: Sonics (S/MC): / |
Händel’s Concerti Grossi consist of two series. Opus 3 is made up of seven concertos and opus 6 twelve. They were composed in 1739 over a period of less than a month. “Fruit of a German composer who had traveled to Italy and was living in London,” notes musicologist Marc Vignal, “Händel’s Concerti Grossi are essentially, despite respect paid to England, descendants of the glorious line of Torelli and, above all, Corelli, whose concerti grossi opus 6, albeit performed in Rome as early as 1682, were first published in Amsterdam in 1714. In England, Albinoni’s opus 2 was first published in 1709, Vivaldi’s opus 3 no doubt in 1714, Corelli’s opus 6 in 1715, Geminiani’s opus 3 around 1732. It is perhaps John Walsh himself, who had become Händel’s principal publisher, who asked Händel to add his name to this illustrious family.” Listening to the baroque ensemble Arte Dei Suonatori is, as always, a renewed pleasure. And let it be said right off that what makes this remarkable recording well worth the price is, above all, the atypical approach of the musical discourse. Händel’s Concerti Grossi as heard on this recording release a perfume of rebirth, which is hardly the case of countless earlier versions. Under the inspired direction of Martin Gester, the musicians of the Arte Dei Suonatori enchant us by the detailed precision of both their articulation as well as the élan of their inflections. Colors are spread before us part of a palette of unique scents. Let there be no doubt that this interpretation of Händel’s opus 6 will leave no one indifferent. It may shock some, enthuse others. Our choice is clear.
Jean-Jacques Millo
Translation Lawrence Schulman
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