Handel Concerti Grossi, Op 6 Nos 1-4; Alexander's Feast
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel
Label: Veritas
Magazine Review Date: 10/1999
Media Format: CD or Download
Media Runtime: 58
Mastering:
DDD
Catalogue Number: 545348-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti grossi, Movement: No. 1 in G, HWV319 |
George Frideric Handel, Composer
George Frideric Handel, Composer Nicholas McGegan, Conductor Orchestra of the Age of Enlightenment |
| (12) Concerti grossi, Movement: No. 2 in F, HWV320 |
George Frideric Handel, Composer
George Frideric Handel, Composer Nicholas McGegan, Conductor Orchestra of the Age of Enlightenment |
| (12) Concerti grossi, Movement: No. 3 in E minor, HWV321 |
George Frideric Handel, Composer
George Frideric Handel, Composer Nicholas McGegan, Conductor Orchestra of the Age of Enlightenment |
| (12) Concerti grossi, Movement: No. 4 in A minor, HWV322 |
George Frideric Handel, Composer
George Frideric Handel, Composer Nicholas McGegan, Conductor Orchestra of the Age of Enlightenment |
| Concerto grosso, 'Alexander's Feast' |
George Frideric Handel, Composer
George Frideric Handel, Composer Nicholas McGegan, Conductor Orchestra of the Age of Enlightenment |
Author: Lionel Salter
McGegan has opted in these concerti grossi for Handel’s added wind parts to some of them, which otherwise have been taken up, in period-instrument groups, only by Pinnock and Standage. His performances are sensible and businesslike (with just an occasional imperfection of unanimity), rhythmically vigorous and robust in sonority (particularly in the Alexander’s Feast Concerto). Of lightness there is not much save in the second movement (taken fast) of No. 2, and of affection no evidence until the Largo of No. 4 (but, as Wordsworth nearly said, dull would he be of soul who could pass by a movement so touching). In fact No. 4 emerges as the most rewarding performance of this set, with plenty of vitality in the fugue and the final Allegro (adapted from Imeneo). But the treatment of the initial and analogous bars of No. 2’s Largo jars – deciso staccato beats need not be so aggressive – and No. 3’s Polonaise (whose dance spirit eludes the players) is disfigured by exaggerated and quite uncalled-for tonal bulges.
I wasn’t very happy with the internal balance: the contrast in volume between concertino and ripieno is too extreme, the latter’s entries often crashing in disproportionately; and the theorbo continuo is a trifle intrusive in places. Though the solo violins’ embellishments are stylish and welcome, improvised cadential filling-in of pauses is half-hearted and meagre: in No. 1 there are merely long empty gaps, leaving the listener waiting for somebody to do something. No, Standage still goes unchallenged.
'
I wasn’t very happy with the internal balance: the contrast in volume between concertino and ripieno is too extreme, the latter’s entries often crashing in disproportionately; and the theorbo continuo is a trifle intrusive in places. Though the solo violins’ embellishments are stylish and welcome, improvised cadential filling-in of pauses is half-hearted and meagre: in No. 1 there are merely long empty gaps, leaving the listener waiting for somebody to do something. No, Standage still goes unchallenged.
'
Handel Concerti Grossi, Op 6 Nos 1-4; Alexander's Feast
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