It will be the privilege of a very few of us, I hear, to be able to see, or even hear, all of Handel's operas. All the more is it to be hoped therefore, that programmes such as this will attract recording companies in search of first-rate but, as often as not, unfamiliar music from Handel's theatre works. I almost invariably enjoy. The English Concert's way with Handel and in this instance, to use a gaming term, they have turned up trumps. Trevor Pinnock has chosen music not only from three of Handel's operas, but also from two oratorios and a masque. The masque, Alceste, was performed in 1742 at Covent Garden. Handel's music is decidedly French in flavour in the fine maestoso movement played here. It is in the manner of a French overture but has a jauntiness which is quite unmistakably Handel; rapid upward and descending scale passages in the oboes and violins recall Rameau and the freshness and vigour of Handel's invention at once commands our attention.
In contrast with the ''Grand entree'' to Alceste, the Overture to Handel's early Italian opera Agrippina (1710) possesses both French and Italian characteristics. It begins in the spirit of a French overture but gives way to an Italianate allegro with a concertante element. The Overture to Il pastor fido (1712) is more substantial in dimensions consisting not only of the overture itself but an ensuing dance suite with some affecting writing for oboes and bassoon. The concluding Allegro will be familiar to readers in its slightly different versions as the finale to the Concerto grosso in D major/D minor, Op. 3 No. 6, and as that to the Organ Concerto in D minor, Op. 7 No. 4. The remaining opera overture is that to Teseo (1712); its first sections fall into the pattern of a French overture with concertante violin-episodes in the second of them. The character and form of the last section recall some of the string and reed instrument writing of Handel's Op. 3 concertos. The rest of the music here is drawn from two of Handel's greatest oratorios, Saul (1739) and Samson (1743).
As I have implied, The English Concert are on excellent form throughout, offering crisp and sparkling performances of page upon page of enchanting music. This treasure-trove needs greater exposure and the imaginative way in which the programme has been assembled is very enjoyable. Over an hour's playing time of music of this calibre, realized in such a sympathetic, buoyant fashion should not be overlooked. Fine recording and presentation.'