Elizabeth Wallfisch, Violin; Paul Goodwin, Oboe; Lisa Beznosiuk, Flute; Rachel Beckett, Recorder; Richard Tunnicliffe, Cello; Paul Nicholson, Harpsichord

A2 HANDEL Twenty Sonatas, “Opus 1“. • Elizabeth Wallfisch, violin; Paul Goodwin, oboe; Lisa Beznosiuk, flute; Rachel Beckett, recorder; Richard Tunnicliffe, cello; Paul Nicholson, harpsichord. • HYPERION CDA66921/3 [DDD]; three discs: 54:40, 58:09, 58:45. Produced by Martin Compton. (Distributed by Harmonia Mundi USA.) Sonatas: in D, HWV371 (“No. 13“); in B Minor, HWV376 (“Halle Sonata No. 3“); in G Minor, HWV360 (“op. 1, no. 2“); in B♭, HWV357; in F, HWV369 (“op. 1, no. 11“); in E Minor, HWV375 (“Halle Sonata No. 2“); in D Minor, HWV359a (“op. 1, no. 1“); in A Minor, H 374 (“Halle Sonata No. 3“); in D Minor, HWV367a (“op. 1, no. 9a“); in G, HWV358; in E Minor, HWV 379 (“op. 1, no. 1a“); in A Minor, HWV 362 (“op. 1, no. 4“); in C Minor (“op. 1, no. fl“); in B♭, HWV377; in G, HWV363b (“op. 1, no. 5“); in A, HWV361 (“op. 1, no. 3“); in E Minor, HWV359b (“op. 1, no. 1b“); in C, HWV365 (“op. 1, no. 7“); in G Minor, HWV364a (“op. 1, no. 6“); in B Minor, HWV367b (“op. 1, no. 9“). HANDEL The Complete Sonatas for Recorder. • Marion Verbruggen, recorder, flute; Ton Koopman, harpsichord, chest organ; Jaap ter Linden, cello. • HARMONIA MUNDI FRANCE HMU 907151 [DDD]; 57:37. Produced by Tini Mathot. (Distributed by Harmonia Mundi USA.) Sonatas: in F, HWV 369; in A Minor, HWV 362; in G Minor, HWV 360; in C, HWV 365; in D Minor, HWV 367b; in Bb, HWV 377. Oh dear. What a tangled web is woven by Handel's so-called opus 1. I note with a certain wry amusement (and envy) that whenever odd discs of any of these works have come up for consideration in the pages of Fanfare over the past couple of years, these problems have either been neatly skirted or ignored. The envy stems from the recognition that faced with Hyperion's complete and meticulously documented complete set, and Verbruggen's disc of those of the sonatas written for recorder, it is time to put a wet towel around my head and attempt to clarify matters. In so doing I have drawn upon Peter Holman's note provided with the Hyperion set. During the eighteenth century there were two editions published of Handel's “opus 1 “, one purportedly issued by Roger of Amsterdam, the other by John Walsh of London, offering a slightly different selection and claiming greater accuracy. It was these that formed the basis of seventeen works published in Friedrich Chry sander's edition published in the late nineteenth century, an edition known and used by generations of violinists (in particular) since. In 1948 three further works, HWV 377, HWV 367a and HWV 357, one of two oboe sonatas, were edited by Thurston Dart and have been added to the canon. But that, I fear, is not the end of the story, for in the 1970s it was discovered that not only was the original Roger publication an unauthorized forgery by no less than Walsh himself, but that both editions were thoroughly corrupt, and also included four spurious violin sonatas. At the same time two more works considered genuine (HWV 378 and HWV 371) were discovered; to these have been added the most recent discovery, the Violin Sonata, HWV 357. Hyperion reaches a round twenty by including both flute and recorder versions of HWV 357 (labeled a and b). If you're still with me, I can report that Harmonia Mundi will have none of these musicological convolutions, listing the sonatas merely under their opus 1 numbering, and included a note which makes no mention whatsoever of their complex history. For ease of cross-referencing the two discs, I have reverted to HWV numbers in the heading for the HM disc. For some inexplicable reason Verbruggen has also opted to play the recorder version of HWV 367 on the flute, the only instance of her employing the latter instrument. I suspect, too, that HM has utilized a less reliable edition, for it certainly differs from that used by Beckett, and at odd times sounds that much less convincing. Well, having got all that out of the way (at least it saves other Fanfare reviewers or me doing it again for the foreseeable future!), we can get round to the music, first and foremost reminding readers just how much marvelous invention there is in these sonatas. Don't be fooled by that “opus 1 “ appendage into thinking these are immature works, for with few exceptions they were composed during the 1720s and 30s when Handel was at the height of his operatic powers, in all probability for professional musicians with whom Handel was acquainted. They are also distinguished from many Baroque sonatas by the unusual interest the composer has provided in his bass parts; indeed the bass line is not infrequently elevated to a role of importance equal to that of the solo instrument. One of the great strengths of the Hyperion performances is the recognition of this fact, the judicious studio positioning of the performers and the superbly positive playing of Richard Tunnicliffe and Paul Nicholson resulting in the many exchanges between upper and lower voices making their full effect. This becomes particularly noticeable when one turns to the HM disc, where good though ter Linden and Koopman's playing is, the balance and more reticent contribution makes them sound more akin to accompanists than partners. Comparison between the two sets of performances of the recorder works reveals an interestingly variable situation, for while I'm sure many will prefer Verbruggen's mellower tone and more expressive approach to slow movements, she can sound a little overdeliberate in a movement like the opening Larghetto of HWV 362, where Beckett finds a breadth to the music not revealed by her Dutch colleague. In general Beckett's tempos tend to be just that little quicker, and I enjoyed her bright-eyed playing greatly, also finding her ornamentation in general the more spontaneous and convincing, since Verbruggen has a tendency at times to overgild the lily. The latter however has an edge when it comes to security of intonation. But both ladies provide performances that I could live with very happily, and to anyone requiring just the recorder sonatas, Verbruggen can be confidently recommended despite being “musicologically incorrect.“ Incidentally, Koopman alternates between harpsichord (in HWV 362, HWV 365, and HWV 377) and a delightfully discreet chamber organ for the keyboard parts. In the interests of trees and editor Flegler's patience, I'll try to reduce a mass of notes on the remaining sonatas to manageable proportions. The largest single group (seven in all) is the flute sonatas. In these Lisa Beznosiuk proves herself to be the romantic among these performers, often favoring slower tempos for andantes and adagios than her colleagues (she takes the Andante of HWV 367b at a substantially slower pace than either Beckett or Verbruggen), and frequently bringing to mind Dryden's “soft complaining flute.“ Much of her playing has a beguiling expressivity. She is imaginative, too; I love the way in which she steals almost unnoticed into the opening Adagio of HWV 375, whose succeeding fugal Allegro is but one of many examples where Beznosiuk demonstrates her ability to produce feather-light agility to entrancing effect. A lovely set of performances which would make for an enticing separate disc. Paul Goodwin's contribution to the wind sonatas is, of course, much the smallest, but he does have one of the gems of the set in the early HWV 366 (ca. 1711/12), taking full advantage of the lovely opening Largo to produce an exquisitely molded performance of its long cantabile lines. Elsewhere his playing is as eloquent as one now expects from this fine performer who has so ably stepped into the gap left by David Reichenberg's early death. That just leaves the five violin sonatas, in the hands of what by any other name is the Locatelli Trio. Wallfisch's playing is distinguished by the many qualities those familiar with Hyperion's various recordings of that group will already be aware of— a splendid technique which permits her to articulate Handel's often demanding passagework with unfailing accuracy, the ability to draw long, cantabile lines with dignity and eloquence, and a near-infallible feel for the “right“ tempo for a movement. Occasionally her tone does take on an edge suggestive of the “sharp violins“ (to quote Dryden again) which cause some critics of “period-instrument“ performance such anguish. This seems to apply particularly tó HWV 371, the latest and grandest of the violin sonatas, and it is perhaps a little unfortunate that is the work with which the set opens. But I would not be without her deeply expressive playing of a movement like HWV 364a/I, or indeed the easily worn virtuosity and accomplishment of her playing in general. The whole set is in fact a splendid achievement which is strongly recommended to all Handelians. Its only real rival comes from the now somewhat elderly CRD made by L'Ecole d'Orphée in the course of the integral set of Handel's chamber music, I've not heard them for a few years, but memory recalls a rather mixed bag of performances. You would also have to buy five discs to get all this music on this excellently engineered and valuable Hyperion set. Brian Robins This article originally appeared in Issue 19:4 (Mar/Apr 1996) of Fanfare Magazine. HANDEL Concerti Grossi, op. 6 • Pavlo Beznosiuk, cond; Avison Ens (period instruments) • LINN CKD 362 (3 SACDs: 160:38) Handel composed these 12 concerti grossi in a period of about one month in 1739 (completion dates in the autographs are September 29 through October 30).

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