Handel had already hinted at the prospect of the organ concerto with a spectacular movement in his early Italian oratorio Il trionfo del Tempo e del Disinganno, performed in Rome in 1707. In 1733 he fused English oratorio and organ solo together for Barak’s aria ‘In the battle danger disdaining’ in Deborah. It was at around this time that he began to realise that his performance of full-scale organ concertos between parts of an oratorio provided extra novelty (he did not introduce them into operas, in which he never used an organ). In 1738 the music publisher John Walsh collected six concertos together to form the ‘Opus 4’.

Sonnerie elect to open this delectable recording with the bright, extrovert Concerto No 4, which Handel based on music he had rejected from his autograph of Alcina. Matthew Halls begins this with a fabulous flourish on the organ before Sonnerie launch in, setting the pace for the rest of this lively and engaging disc. Halls, using a fascinating Dutch chamber organ which is perfect for the intimately balanced ensemble, plays the solos in Concerto No 6 (the ‘harp’ concerto) with admirable delicacy and affection. Firmer music such as the Allegro from Concerto No 3 lacks nothing in intensity or drama. The bouncy finale of Concerto No 5 is a model of zesty vivaciousness.

These chamber performances are smaller than those Handel would have directed but one never feels that Sonnerie are weak or underpowered. Although Halls is sometimes accompanied by only six musicians, the slow movements are surprisingly lush and evocative. Inspiring interpretations that are a joy from beginning to end.