The programme here, including as it does the G minor Passacaille, the big G major Chaconne, and the variations on the “Harmonious Blacksmith” (from the E major Suite) and the theme borrowed by Brahms, does seem (as the insert-note suggests) to lay some emphasis on Handel’s noted brilliance as an improviser; for all these pieces consist only of simplistic varied keyboard figurations, a world removed from the studied intellectual variations of his great contemporary Bach. As such, some degree of flamboyant display might be expected. However, Bob van Asperen is a sober rather than a flamboyant artist, or should I say that I get the impression that he was not feeling consistently extrovert during these recording sessions.
In the Chaconne, and in some suite movements such as the F minor Fugue and Gigue, or the free-style B flat Prelude, there is a verve and drive that are captivating: elsewhere, while he is always tasteful and splendidly rhythmic – with felicitous added ornamentation and occasional discreet inegalites – I miss a feeling of spontaneity (as in the “Harmonious Blacksmith”, the E major Prelude or the F major Allegro). Do not misunderstand me: his impeccable keyboard control and admirable voice-leading, and the attractive sound of his Taskin-copy instrument, are rewarding; but sometimes that extra spark is not evident. His decision to repeat, for some reason, five of the Chaconne’s 21 variants does not seem logical; and to my ears the F major Allemande hangs fire by the slow speed he adopts.'