Varieties of Handel
Identifieur interne : 001432 ( Istex/Corpus ); précédent : 001431; suivant : 001433Varieties of Handel
Auteurs : Peter HolmanSource :
- Early Music [ 0306-1078 ] ; 2006-05.
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DOI: 10.1093/em/cal018
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<p>In a recent issue of <italic>Early music</italic> I questioned the use of orchestras in concertos by Vivaldi. Now we have the reverse problem, in a new recording of Handel's <bold>Organ concertos, op.4</bold> from Matthew Halls and Sonnerie under Monica Huggett (Avie <sc>av</sc>2055, <italic>rec</italic> 2004, 72′). Handel probably wrote all the op.4 concertos to be played during performances of oratorios during the 1735 and 1736 seasons, so they would presumably have been accompanied by the large orchestra required by the parent works—which in turn explains why the solo parts are for organ rather than harpsichord. Thus it is perverse for Sonnerie to accompany mostly one to a part, and for Matthew Halls to use a Dutch box organ that is quite different in sound and size from the large wardrobe-shaped English chamber organs Handel used. The group ignores Handel's oboe parts in nos.2, 3, 5 and 6, only uses ripieno violins in no.3 (where there is independent material for them in the Adagios), and gives the continuo part to an archlute rather than the harpsichord that Handel would surely have used.</p>
<p>This is not just a question of historical accuracy. Matthew Halls has plenty of dash and virtuosity, and Sonnerie's accompaniments are beautifully played, though I found that their widespread use of rubato and their highly detailed shaping detracted from music that was written in broad brush-strokes for public performance by a large ensemble. Halls tries to justify their ‘wrong end of the telescope’ approach in the notes by referring to the great popularity of the op.4 concertos during the composer's lifetime, inviting us to imagine performances with small forces in music clubs. But that is hardly the point: by marketing themselves as ‘one of the foremost and most respected period instrument ensembles in the world’ (to quote their blurb), Sonnerie imply their acceptance of a set of values that includes the notion of fidelity to the composer's intentions. Although this is music-making of a high order, I was left feeling that the main aim was to draw attention to the performances rather than to serve the music.</p>
<p>It was with relief that I turned to the recording of the <bold>Trio sonatas, op.5</bold> (Somm <sc>cd</sc>044, <italic>rec</italic> 2003, 79′) by the London Handel Players (Rachel Brown, flute; Adrian Butterfield and Oliver Webber, violins; Peter Collyer, viola; Katherine Sharman, cello; Laurence Cummings, harpsichord and organ). Handel's op.5 sonatas are rather neglected by comparison with his op.2 sonatas, mainly because there is a perception that they are merely compilations of instrumental movements written for anthems, operas and oratorios. That is largely true (as Anthony Hicks shows in detail in his excellent notes), though most of Handel's works are compilations to some extent, and it does not affect the quality of the music. Rather the reverse: one could argue that op.5 is the composer's selection of favourite instrumental movements up to 1739 (when the collection was published), and that their reduction to the trio scoring clearly shows that he essentially thought in three parts even when writing for orchestra. The title-page of op.5 states that the sonatas are ‘For two Violins or German Flutes’, but the second part goes below the range of the flute too often for the latter option to be viable without transposition. The London Handel Players opt for doing nos.1, 3 and 6 with flute, violin and continuo, and the rest with two violins. This generally works well, and gives us opportunities to savour Rachel Brown's incomparable flute playing, though I thought that the dramatic and violinistic opening movement of no.3 (derived from the Chandos anthem version of <italic>As pants the hart</italic>) was weakened by the use of the flute. The performances are uniformly excellent: they have the straightforward integrity that is essential for Handel, and yet they are full of delicacy and refinement. I was particularly taken with their subtle use of <italic>notes inégales</italic> in the French-style dance movements.</p>
<p>The new recording by Pamela Thorby and Richard Egarr of six of Handel's <bold>Recorder sonatas</bold> (Linn, <sc>ckd</sc>223, <italic>rec</italic> 2003, 74′) is also very fine. Thorby and Egarr opt to play the sonatas (<sc>hwv</sc>360, 362, 365, 367a, 369 and 377, plus the harpsichord suite in E major, <sc>hwv</sc>430) without a bowed instrument on the bass line, taking their cue from the fact that the autographs of three of them (not all six, as Thorby implies in her notes) specify just ‘Flauto e Cembalo’. This works well, though they weaken their case by using an anonymous-sounding box organ for two of the sonatas. I also thought that the harpsichord (a copy of a 1638 Ruckers) is rather too abrasive for Handel and sometimes forces Egarr to compensate for a lack of sustaining power by providing an overactive realization of the continuo; I would have preferred a larger and more refined instrument in the Ruckers-derived English tradition. Having said that, both players are formidable virtuosos, and turn in extrovert performances with a good deal of improvised florid ornamentation. A generation ago, when recordings tended to be thought of as definitive statements, I might have found their ornamentation excessive, but Thorby refers to the recording as a ‘snapshot’, and taken in that spirit—as something akin to the documentation of a live performance—it works very well. Surprisingly, given Linn's reputation for the quality of their recordings, I found that the upper register of the recorder distorted from time to time on my equipment.</p>
<p>Turning to recordings of Handel's vocal music, this batch includes two of his English oratorio-like works, the Ode for St Cecilia's Day of 1739 and <italic>L'Allegro, il Penseroso ed il Moderato</italic>, written the following year. Robert King and The King's Consort Choir and Orchestra's recording of the <bold>Ode for St Cecilia's Day</bold> (Hyperion <sc>cda</sc>67463, <italic>rec</italic> 2003, 78′) is particularly welcome because it is coupled with a rare outing for the Italian Cecilian cantata <italic>Cecilia, volgi un sguardo</italic>, written in 1736 to be performed with <italic>Alexander's Feast</italic>. The ode itself is one of Handel's consistently fine choral works, with memorable solos for the violoncello, flute, lute and organ, and massive choruses graphically illustrating Dryden's text. The cantata is also well worth hearing, particularly for the extended central soprano aria, with its rapt middle section. The two soloists, Carolyn Sampson (soprano) and James Gilchrist (tenor), are both very fine singers, though Gilchrist has the edge here because one is never made aware of his vibrato, as one sometimes is with Sampson, and because his enunciation of the words is outstandingly immediate and vivid. The choir and the orchestra are generally very good, and Robert King directs vigorous and well-paced performances. My main reservation is that, as with a number of King's other Handel recordings, the organ is freely used in recitatives and arias as well as choruses, contrary to Handel's known practice.</p>
<p>The Naxos recording of <bold>L'Allegro, il Penseroso ed il Moderato</bold> (Naxos 8.557057–58, <italic>rec</italic> 2002, 131′) is one of a series made from live performances by Joachim Carlos Martini and his Junge Kantorei—in this case at Kloster Eberbach at Eltville in Rheingau on Whitsunday 2002, with the Frankfurt Baroque Orchestra. The work is given complete in its original 1740 version, with introductions to the three parts supplied, not always appropriately, from the concertos op.6/1, op.6/3 and op.7/1 respectively. One soprano takes all the <italic>Penseroso</italic> solos, and the <italic>Allegro</italic> solos are divided between a second soprano, tenor and bass. Since this is generally a well-paced performance using period instruments and the set of two CDs only costs about £10, it is at first sight a real bargain, but there are serious drawbacks. The four soloists—Linda Perillo and Barbara Hannigan (sopranos), Knut Schoch (tenor) and Stephan MacLeod (bass)—all have acceptable voices for Handel, but the tenor and the bass have thick German accents and the enunciation of both sopranos is very bad, even though they appear to be English-speaking Canadians. All four of them make little effort to engage with Milton's text, and thus they mostly fail to bring Handel's marvellously descriptive music to life. The chorus is reasonably efficient, though it sounds too large and thick and its words are poor.</p>
<p>The orchestra plays reasonably well on the whole, though the tuning and ensemble is variable in places, and there are some embarrassing moments. In ‘Mirth, admit me of thy crew’ the horn solo (evoking a hunt) is ridiculously backward and soft-toned, and in ‘But oh, sad virgin’ the cruelly difficult cello solo is unacceptably out of tune. Worst of all, in ‘There let the pealing organ blow’ the organ squeaks rather than peals (it sounds like another box organ) and the organist plays some ludicrously perky and inappropriate responses to the choir's solemn phrases. Also, Handel's instruction to the organist to play a fugue based on, and leading into, the chorus ‘These pleasures, Melancholy, give’ is ignored. Finally, aspects of the continuo scoring are historically inappropriate. A viola da gamba should not be part of the bass section (it was not an orchestral instrument, and by 1740 it played solos rather than bass lines); the carillon is wrongly used in ‘Populous cities’ as well as the first part of ‘Or let the merry bells ring round’; and, once again, the organ accompanies recitatives and arias as well as choruses.</p>
<p>Recitals of arias from Handel's operas and oratorios have become popular of late, presumably because they are a lot cheaper to make than complete recordings of the parent works and they make useful calling cards for the artists concerned. I must confess to finding the genre rather unsatisfactory, offering as it does ‘bleeding chunks’ torn from what are supposed to be coherent dramas. The two examples in front of me are both by eminent operatic mezzo-sopranos, the American Lorraine Hunt Lieberson (<bold>Handel: Arias</bold>, Avie <sc>av</sc>0030, <italic>rec</italic> 2003, 67′) and our own Sarah Connolly (<bold>Heroes and villains</bold>, Coro <sc>cor</sc>16025, <italic>rec</italic> 2004, 65′). Of the two, Hunt Lieberson offers the better-constructed programme, with recitatives and arias from <italic>Theodora</italic> and <italic>Serse</italic> separated by the early continuo cantata <italic>La Lucrezia</italic>. She has a glorious mezzo voice with an enormous dynamic range, and she has a real ability to create an atmosphere in a few bars—as in the recitative ‘The clouds begin to veil the hemisphere’ from Act 2, scene 4 of <italic>Theodora</italic>. When she sings softly the effect is often exquisite, and she inspires accompanists Harry Bicket and the Orchestra of the Age of Enlightenment to produce playing of real refinement.</p>
<p>When, however, she lets rip, particularly in the lower register, the sounds are more appropriate for Wagner or Mahler than Handel. Charles Burney, for one, would have found her unacceptable because she lacks the thing he valued most in a singer: a proper trill. The performance of <italic>La Lucrezia</italic> (recorded in America rather than London, with only Hunt Lieberson and Bicket in common with the OAE sessions) is a mixture of the wonderful and the bizarre. She certainly injects that extraordinary cantata with every ounce of drama and passion, but the speeds of the first and last arias are much too slow (‘Alla salma infidel’, marked <italic>Larghetto</italic>, is taken <italic>Molto adagio</italic>), and the vocal line is often distorted by strange octave transpositions and rewritings. The continuo scoring, a kaleidoscopic mix of violoncello, gamba, lute, Baroque guitar, harpsichord and organ (Phoebe Carrai, Margriet Tindemans, Stephen Stubbs and Harry Bicket) is more appropriate for Monteverdi than Handel. Fans of Hunt Lieberson will not be deterred by me from buying this CD, though it may raise the blood pressure of those who think they are going to get historically informed singing on a recording featuring the OAE.</p>
<p>Judged from the HIP standpoint, Sarah Connolly on <italic>Heroes and villains</italic> is a much more acceptable alternative. She also has a beautiful mezzo voice, smaller and more agile than Hunt Lieberson's. Thus she is able to keep her vibrato under better control most of the time; she has the ability to sing passagework cleanly and incisively; and she has a good trill, though it also means that her dynamic range is narrower and she lacks Hunt Lieberson's ability to create instantly compelling dramatic atmospheres. The playing of The Symphony of Harmony and Invention under Harry Christophers is good, if a little mundane by comparison with Bicket and the OAE at their best. But this is fine singing by anyone's standards, and those who do not mind the rag-bag programme (extracts from <italic>Alcina</italic>, <italic>Solomon</italic>, <italic>Ariodante</italic> and <italic>Hercules</italic>) will not be disappointed.</p>
<p>A last point: King, Martini, Bicket and Christophers all use orchestras of similar size, with 15, 15, 17 and 15 strings respectively. However, we know that Handel mostly had rather larger string groups than that. The evidence brought together by Mark Stahura in <italic>The Cambridge companion to Handel</italic> (Cambridge, 1997) suggests 24 strings or more, including three or four cellos and two double basses. All four recordings have only two cellos (or, in Martini's case, cello and gamba) with one double bass. In the 1720s and 30s Handel's strings seem to have been reinforced by as many as four oboes and four bassoons; again, the three recordings that have winds (Bicket just has strings and continuo) use single players. The one department that tends to be over-staffed in Handel recordings is the continuo. There was a theorbo and two harpsichords in Handel's opera orchestra in the 1720s and 30s, but it is unlikely that he would have used a theorbo as late as <italic>Theodora</italic> (1750), as Bicket does, or that he would have used five continuo instruments (two harpsichords, two theorbos and harp), as Christophers does. Examples, I suggest, of the modern tendency to ignore or reject historical evidence in favour of spurious invented traditions—more HMP (Historically Misinformed Performance), perhaps, than HIP.</p>
<sec><title>Websites</title>
<p><italic>Avie</italic> <ext-link ext-link-type="uri" xlink:href="http://www.avierecords.com/"></ext-link></p>
<p><italic>Somm</italic> <ext-link ext-link-type="uri" xlink:href="http://www.somm-recordings.demon.co.uk/"></ext-link></p>
<p><italic>Linn</italic> <ext-link ext-link-type="uri" xlink:href="http://www.linnrecords.com"></ext-link></p>
<p><italic>Hyperion</italic> <ext-link ext-link-type="uri" xlink:href="http://www.hyperion-records.co.uk/"></ext-link></p>
<p><italic>Naxos</italic> <ext-link ext-link-type="uri" xlink:href="http://www.naxos.com/"></ext-link></p>
<p><italic>Coro</italic> <ext-link ext-link-type="uri" xlink:href="http://www.the-sixteen.org.uk/"></ext-link></p>
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