In what order (and where) the three Water Music suites were played, what movements they contained (and what their titles were), and how Handel's vague directions regarding repeats were intended to be executed, are matters for conjecture; the above three recorded versions supply their own, different solutions. Linde, like Pinnock (Archiv Produktion), adopts the key-order F-D-G, whilst Gardiner (Erato) has F-G-D, less aesthetically satisfying but maybe as it happened on the night—'indoor' music flanked by 'outdoor'. It is harder to guess why Gardiner precedes the Ouverture of the F major Suite with the Alla hornpipe from the Concerto in F of 1715; a reminder to the guests that they were about to become water-borne? In most areas the Linde Consort's recording is a curate's egg, as NA has said, but perhaps its worst fault is its failure to communicate much by way of enjoyment—the joy of the occasion. There is too much that is just plain dully dutiful. The English Concert emerge as still the best choice: period instruments played with the command that makes all reasonable things possible, well judged tempos, spruce ensemble, unfailing grasp of style, and, above all, the elan that eludes the Linde Consort. The CD forms of all three versions offer a high standard of sound-quality in all respects.'