As this is the first complete recording of these suites on CD, a little background information may not be out of place. They were published by Handel in London, in 1720, though some movements had been on his drawing board for many years. A second book of eight suites was assembled from various sources and published in 1733, to Handel's great annoyance, by John Walsh his London publisher. The superior quality of the original eight, here recorded, is very clear. That the term 'baroque suite' implies a particular succession of dance movements, with or without a prelude, was not a view that Handel necessarily shared: Suite No. 1 fits the formula but has no sarabande, the 'regular' four dances of No. 4 are preceded by a fugue, No. 2 is a da chiesa sonata, and the others juxtapose dances with da chiesa movements, including three more fugues, two sets of variations (in Suite No. 5 on The harmonious blacksmith—a name not given by Handel) and a passacaglia. The music itself, drawing on German, French and Italian styles, is matchingly cosmopolitan.
The late Scott Ross, unconstrained by the available playing time, opts to omit a few repeats (IV/Sarabande second half, VI/Largo, VII/Ouverture), a decision some may, given the quality of his performances, regret. His tempos are well judged though two (IV/Fugue, VII/Andante) seem overurgent, and the Courante of Suite No. 8 trembles on the brink thereof. On the whole he is sparing in adding embellishments other than such ornaments as the music seems to invite, and in his use of inegales, but caution goes to the winds in Suite No. 7, brought to a grandstand finish with florid arpeggios, and with the tapestry of its Sarabande particularly richly embroidered. His use of rubato is firmly controlled, often subtle, and always enhancing the phrasing. The harpsichord (by David Ley, after a Blanchet of 1733) has a rich 'loose' sound and has been recorded fairly close in; Ross's restraint extends to his use of registration—unspectacular changes in repeats are as far as it goes, and the focus remains firmly on the music. This is quite simply a magnificent recording of magnificent music, an entry you should be able to read in the catalogue for a very long time to come.'