Search - George Frederick Handel, Academy of Ancient Music, Richard Egarr :: Handel: Organ Concertos, Op. 4 [Hybrid SACD]

A splendid Handel series continues

Mike Birman | Brooklyn, New York USA | 02/22/2008

(5 out of 5 stars)

"Here is the second entry in a new series celebrating (for that is what it feels like) Handel's orchestral music as played by the superb Academy of Ancient Music, conducted from the organ by Richard Egarr. The success of the first installment, Handel's Op.3 Concerto Grossi, which won the 2007 Gramophone Award for Baroque instrumental music, was a head's up that we were in for something special. The present release confirms it. Handel composed these organ concertos in order to literally give himself something to do during performances of his oratorios such as Esther, Deborah, Athalia and Alexander's Feast. Beginning as early as 1733 and continuing for several years, Handel played his organ concerti during intervals of his staged oratorios. These performances, part of a campaign by Handel to pull out all the stops (forgive me) during the decade of the 1730s, were designed to maintain his musical relevance in an increasingly competitive London musical scene. He had already turned from opera to oratorio and now sought additional means of generating excitement amongst London's ever more demanding audiences. The first advertisements for his organ performances appeared in the London press on 5th March 1735 for a performance of Esther at Covent Garden. Much was made of Handel's organ interludes, including a fascinating comment in a music publication of 1739 extolling Handel's brilliant organ technique as perhaps the finest in the world, save for a certain Mr. Bach in Leipzig. References to Bach in the European popular press of the era are rare. Handel's technique is described as having 'amazing fullness, force and energy.' The success of these organ shows prompted the 25th September 1738 announcement in the London Daily Post that the organ concertos would be published by John Walsh from original manuscripts corrected by Handel himself.



These recordings were made utilizing that very edition. Thus we are treated to Handel's brilliant imagination for orchestral sound, instrumental color, effect and dynamics. Many of the original markings were lost or watered down over time, creating a blander amalgam that was inauthentic Handel. At last we can hear what he actually wrote. It is much more brilliant, with more instrumental color than in previous recordings. The winds are especially richer. The orchestra sounds ripely sonorous and sonically more adventurous. The organ is a mid-sized portative organ of English design with a beautifully sweet and characteristically English quality. Sweet and warm and not brilliant and powerful, as Germanic organs usually sound. This recording is my present favorite of these concertos, replacing the Trevor Pinnock set of two decades ago. Egarr's superb playing, often delicate and always tasteful, yet powerful when necessary, beautifully accompanied by the AAM, make this a clear first choice. Factor in the exemplary stereo/multichannel hybrid SACD sound, which is as lifelike as present technology allows, and this release is hard to resist. Strongly recommended.



Mike Birman"

Wonderful Performance in First Rate Sound

Virginia Opera Fan | Falls Church, VA USA | 03/20/2008

(5 out of 5 stars)

"You may find yourself tapping your toes as Mr. Egarr beautifully ornaments the solo lines of these wonderful concertos. And why not enjoy? Few composers have ever incorporated such a palpable sense of the joy of life and music making into the notes on the printed page. I have to restrain myself to avoid a rave after a first hearing.



The AAM covers itself with glory in its accounts of the orchestral parts. If you have any lingering problems with period instruments, listen to these sweet toned and colorful performances to see just how far period performance has come. Tempos are well sprung and the recording is a very fine example of DSD/SACD technology in service of the music. The medium sized portative organ is constructed in conformance with the sweet toned English chamber organs of Handel's time. Not the least of the attractions of this set is the re-thinking of the last two concertos scoring. The lute in the continuo lines is wonderful. Eliminating the recorders from the orchestra in No. 6, which were carried over from the harp version of the piece, alter the tonal palette in a wonderful way.



This is the first recording to challenge my long held favorite in these works: Daniel Chorzempa's thirty year old integral of all 16 concertos recorded for Phillips and re-issued in SACD by Pentatone. The Concerto Amsterdam under Jaap Schroeder also plays beautifully without the bleating, surging, and sawing that sometimes disfigured period performances of that era. The antique Dutch organ used in those recordings has a clattery action which may put some people off. Chorzempa also interpolates extra movements from Handel's keyboard works to give a flavor for the improvisation that Handel would have undertaken in performance.



Personal affections for the older efforts aside, my advice is to pick up a copy of this newly minted treasure. Not only will you enjoy it, but you may also encourage Harmonia Mundi to give us the remaining 10 concertos in a future release.



"

Exciting performance, stunning sonics

Barton Audio | Wilson, NC United States | 04/27/2008

(5 out of 5 stars)

"Organ performance is thrilling. Recording sonics are perfect - SACD and CD versions are stunning. After years of listening to original instrument performances, I still am not used to the whiny string sound found on these early music recordings. The performances here are so exciting and the recorded ambience so delicious that for the first time, I can understand why these works were so popular in their time."