There is an appealing spring in the step of these performances of the first six concertos of Handel's great Op. 6 (not otherwise available on a single disc as a group). The continuo moves lightly and effectively and there is lively interplay among the instruments of the concertino. Martin Pearlman and Boston Baroque favour brisk tempos and these seem as often as not ideally suited to faster movements. Where the slower movements are concerned I sometimes felt the need for a bit more space, a bit more time to breathe; but this is very eloquent, often affecting playing, clearly articulated and sensitively phrased.
Boston Baroque is, as its name suggests, a band of period instruments whose refinement and homogeneity of ensemble is one of its virtues. Among many examples of this playing at its strongest is that on display in the playful fourth-movement fugal Allegro of the Concerto No. 1 in G major. The two concertino violins capture the witty, even mischievous character of the piece at the outset and their example is followed in the subsequent tutti sections. The clean and stylish playing of the concertino with its discreet and tasteful embellishments are notable features here and almost throughout the disc. Ripieni do not invariably maintain this exemplary high standard of ensemble and intonation and there are patches of sour intonation above all in the Third and Fourth Concertos of the set. They are generally located in the upper string parts though I hasten to add it is an intermittent weakness in an otherwise well- disciplined, unanimous ensemble. But as I say, laurels go to the concertino consisting of the violinists Daniel Stepner (leader) and Julie Leven, and Karen Kaderavek (cello).
My overall impression of the release is of thoughtful, detailed and affectionate performances of these immensely satisfying concertos. Everything seems to have been meticulously prepared and is then enlivened by spirited and warmly coloured playing. In the third-movement Largo of the Second Concerto the accented crotchets of the second, fourth and sixth bars are given just the right amount of emphasis to make them effective, this being but one example of the sort of care which these musicians lavish on their interpretations. Sometimes I found them inclined to understate the character of a piece—the Polonaise of the Third Concerto in E minor is an instance of that, indeed this is a movement which finds several chinks in their armour, but otherwise this is playing which I shall enjoy listening to many times over. I look forward to the sequel.'