Gilbert Rowland’s
www.divine-art.com/AS/gilbertrowland.htm
previous volumes in his series of Handel’s Suites for Harpsichord for
Divine Art www.divine-art.com/index.htm have proved to be superb, something I found
when reviewing Volume 2 back in April 2013 http://theclassicalreviewer.blogspot.co.uk/2013/04/the-second-volume-of-handels-suites-for.html
Now with Volume 3,
Rowland completes this series in a release that is just as impressive. Again
Rowland plays a copy of a two manual French harpsichord after Goermans (Paris
1750), built by Andrew Wooderson in 2005.
 |
| 2CD dda 21225 |
Of Handel’s works for harpsichord HWV426-455 (Händel-Werke-Verzeichnis
www.klassika.info/Komponisten/Haendel/wv_gattung.html
) Gilbert Rowland excludes only HWV446, a Suite
for Two Harpsichords of which only the music for one instrument survives
and HWV455 that, whilst listed as a harpsichord suite, is in fact a keyboard
arrangement of Handel’s orchestral Ouverture
HWV336 and Suite HWV354. All of
Handel’s 27 Suites for Harpsichord are here in this series including Handel’s
the Suites de Pièces (1720) known as
the Eight Great Suites and Suites de Pièces known as the Second Volume (1733-34), as well as the Chaconne in G major HWV435.
It is the first of the so called Eight Great Suites, the Suite
in A major, HWV 426 published in 1720, that opens Volume 3 with a Prelude that reveals some beautifully
rich sonorities, expertly laid out with some lovely flourishes as well as a fine
expansive sound. There is a beautifully poised Allemande with a great clarity of line before Rowland brings some
fine energy to the Courante,
extracting more fine sonorities. The Suite concludes with a terrific Gigue, full of rhythmic bounce, a true
dance rhythm.
The Suite in D minor,
HWV 447 along with the Suite in G
minor, HWV 452 is one of a pair written in 1739. Both are the last such
pieces that Handel wrote. The Allemande has a lovely, relaxed quality, exquisitely drawn with a Courante that has a natural flow, again
with a lovely transparency of line. The Sarabande
is particularly attractive before a nicely sprung Gigue to conclude.
The Suite in G minor,
HWV 452 also opens with an Allemande but this time with a great
forward impetus. With the Courante, Rowland
again brings a fine flow, a lovely overlaying of musical lines. The leisurely Sarabande is quite lovely before a Gigue that is full of energy and spirit
with Rowland bringing some fine textures and sonorities.
The Allemande of
the Suite in B flat major, HWV 440, from
the Second Collection of 1733-34 is
beautifully paced with Rowland bringing subtle little tempi variations. There
is a nice steady pace to the Courante
allowing every line to be revealed, always a fine momentum. The Sarabande brings some quite exquisite
variations with some phenomenally fine playing from this harpsichordist before
the Gigue that has great rhythmic bounce.
The Ouverture of
the Suite in D minor, HWV 448 brings
a fine full tone showing this to be a really grand overture before dashing off
in a terrific theme. The Allemande
has a poise and delicacy that contrasts well, not to mention occasional
beautifully rich deeper sonorities. The
following Courante moves forward
quickly with a great fluency and terrific phrasing before Sarabandes I and II bring a leisurely flow, beautifully laid out with
a lovely poise. There is a lively Chaconne
to end this Suite with Rowland bringing a terrific forward drive, great panache
and a terrific conclusion, so fluent. This really is fine playing.
The second disc of this set opens with the Suite in D minor, HWV 449. As with the Suite in D minor, HWV 448 it is another
of the Miscellaneous Suites probably
composed before Handel left Germany in 1707. It is a substantial piece in seven
movements, beginning with a terrific opening Prelude where Rowland really grabs the attention, finely paced and
phrased with great fluency before an Allemande
that has a fine natural forward flow and some lovely details. It is Rowland’s
fine phrasing and sense of momentum that makes the Courante so fine before the gently flowing Sarabande. The Aria of the Aria
and 7 Variations brings a lovely little theme that is taken through a great
series of variations with a non-stop flow of great fluency, beautifully
controlled with varying tempi, drawing lovely sonorities. The Giga has some very fine rhythmic
subtleties brought out by Rowland before we reach the lovely, rather gentle Menuet.
The Suite in G minor,
HWV 453 takes us back to the earlier compositional life of Handel,
c.1705-06. This four movement work opens with an Ouverture, stately and beautifully laid out with lovely decorations
before arriving at a fine forward flow. The Entrée
is wonderfully lively, full of joy before the poised Menuets I and II that receive some lovely subtle changes of tone
and sonority. The Chaconne has such well-chosen
tempo allowing the music to unfold beautifully.
The incomplete Suite
in C minor, HWV 445 was also written around 1705-06 and consists of just three movements, a lovely
expansive, florid Prelude before a
gently flowing Allemande with lovely
phrasing and lovely decorations and a Courante
that really draws the ear with its lovely harmonies.
Suite in G minor, HWV
451 is another incomplete Suite, this time consisting of just two movements
and dating from c. 1703-06. The Allemande
is thoughtfully presented, again with such lovely variations of sound drawn
from this lovely instrument. The remaining Courante
has a lovely buoyancy.
Another work from around 1703-06 is the Suite in G major, HWV 442. It opens with a short, sparkling Preludio before launching into the Chaconne and 62 Variations. The stately
chaconne precedes a tremendous outpouring of variations. If you are not already
bowled over by Rowland’s playing by now, this will surely captivate the most
jaded ear. Gilbert Rowland brings spectacularly fine playing as Handel’s
marvellous invention pours out. Absolutely terrific.
Gilbert Rowland draws so many lovely phrases, colours and
textures to add to his terrific fluency, joy and sheer panache. He also brings
natural authority and command. The recording again made at Holy Trinity Church,
Weston, Hertfordshire, England is absolutely first class and there are
excellent booklet notes by Gilbert Rowland.
The combination of Handel, Gilbert Rowland, Wooderson’s fine
harpsichord, the recording venue at Holy Trinity Church, Weston, Hertfordshire
and the recording engineer John Taylor is unbeatable providing, as it does, a
collection of these wonderful suites that I will return to again and again.
Sometimes with a project of this kind everything comes
together as it does magnificently in this series. At mid-price these discs should
be snapped up without delay.
Also available:
 |
| 2CD dda 21219 |
 |
| 2CD dda 21220 |
No comments:
Post a Comment