Here's another two-record album in the CRD project (Vol. 1—CRD1073/4, 3/82; Vol. 2—CRD1075/6, 9/83; Vol. 3—CRD1077/8, 1/85), which aims to cover Handel's complete chamber music in performances by L'Ecole d'Orphee. This is Vol. 4, which contains the second of two sets of trio sonatas published during Handel's lifetime. Op. 5 was issued in 1739 and consists largely of music which Handel plundered from earlier works of his; in particular, as Anthony Hicks points out in his introduction, Handel turned for material to the overtures of the Chandos Anthems and to ballet music from his operas. but there is much newly-composed or freshly-rewritten music, too, though even without that the stature of this fine set would in no sense be diminished. The published title described the sonatas as suitable for two violins or German flutes but here a pure string texture is preferred throughout.
As subscribers to the project will already know, the standard of executancy of this group is very high. Sometimes in the past my ears have not been at one with John Holloway's intonation, but on this occasion they have little to protest about. Both he and his partner, Micaela Comberti, sound almost ideally matched and they are alertly supported by Susan Sheppard (cello) and Lucy Carolan (harpsichord). Sometimes I found myself wishing for a little more in the way of sparkle and good humour. I don't mean that the approach is lacking either in vitality or in stylishness but rather that it strikes me as being rather too sober. It is certainly not always so as they convincingly prove in the lively Allegros of Op. 5 No. 2 in D major. On the other hand, the Sixth Sonata of the set seemed a little stiff and unyielding. but still the best playing here far outweighs any suggestion of sobriety which may intrude on occasion. I particularly admire the elegant playing of the dance orientated movements—the Sarabande of Sonata No. 3 in E minor with its almost kinetic poise is an instance of what I mean but the Menuett which ends the Seventh and last of the trios in this set is hardly less effective. Amongst many other fine qualities in the playing I might mention the precision of ensemble, the strength and cleanness of unison passages and the clear, incisive articulation of fast movements. Some of this music makes considerable demands on the players and just occasionally, as for example in the Allegro preceding the Passacaille (which I found a little too much on the brisk side) of the Fourth Trio in g major, intonation suffers a little; but it is certainly not enough to cause serious concern.
To sum up, then, a fine account of Handel's Op. 5 Trios, occasionally lacking in humour and fantasy, but none the less stylish and with plenty of vitality. good recorded sound and good pressings. I cannot imagine why these works are not more often performed.'