Catalogue Connection: 21220

The young Gilbert Rowland – having studied, confusingly perhaps, under Kenneth Gilbert (as well as Millicent Silver and Fernando Valenti) – emerged from an era (the 1960’s) permeated, in harpsichord terms, by heavy instruments tuned to modern pitch and with an indiscriminate fondness for 16-foot couplings that unnervingly sounded like someone singing an octave below the melody. As owners of Rowland’s previous Scarlatti and Soler albums will expect, all that is now swept aside: these modern recordings of Handel Harpsichord Suites are cleanly and most listenably played on a smaller instrument tuned to Baroque pitch, identified in Volume 2’s booklet note (though not volume 1’s) as a 2005 copy by Andrew Wooderson of a two-manual keyboard after Goermans (Paris, 1750). The music is conveyed with impeccable fingerwork and an admirable sense of style honed over 40 years.

Even these four well-filled discs – their components imaginatively shuffled so as not to present all the best suites first – are not the whole picture. Still to come is the first of the Eight Great Suites of 1724 (HWV426 in A major) plus the final two bin-ends (in D minor and G minor) of publisher Walsh’s unauthorized cobbling together of a follow-up volume (1733). The discs do contain four further Miscellaneous Suites towards Handel’s total of 25 or so. Rowland’s Volume 2 ends on the G major Chaconne with (just) 21 variations, also known as lesson No.3, HWV435: the same-key Chaconne with no fewer than 62 is surely to come in a future volume, along with the Six Great Fugues, plus the famous Fantasia in C and other items from ‘The Ladys Banquet’ (another Walsh compilation). This series could and should – run and run. Meanwhile, snap up these albums without delay and bask in some unfailingly delicious playing.

This completes Gilbert Rowland’s comprehensive survey of the Handel harpsichord suites, the earlier instalment of which was reviewed by me in Harpsichord & Fortepiano, vol.17, no.1 (2012). One omission from the data provided with the earlier set can now be rectified. Rowland’s harpsichord here identified as being based by Andrew Wooderson (2005) on a two manual French instrument by Goermans (Paris, 1750). As noted in the earlier review, it is a fine instrument, with silvery, bell like timbres in the upper register and a richly sonorous bass. As before, Rowland’s changes of registration for repeats are judicious and tasteful, revealing fully the many beauties of his instrument.

Although separated by two years, the performances unsurprisingly display similar traits to those in the earlier set, although overall I sense that the playing here is a little more relaxed. The opening G Minor Suite, from the 1720 publication of “Great Suites”, provides a good illustration of both the strengths and weaknesses of Rowland’s playing. The opening, a grandiose French overture, demands and receives the strong fingerwork and precise articulation it needs, characteristics again very evident throughout the set. The following Andante is given an agreeable flow, though without quite dispelling the impression that Rowland might give the music a little more rhythmic freedom, to sometimes allow himself to ”bend” the music a little more. He in fact later provides a perfect example to himself in this respect with the wonderful opening Prelude: A dagio of HWV 433, a movement that seems to steal in on the listener from the deep, like the rising song of a siren. Here Rowland gives the dotted rhythm a beguiling, gentle swing that seems to release all its expressiveness.

As in the earlier set, we are here given two rarities in the shape of HWV 450 and HWV 444, the latter otherwise currently unavailable on CD, so far as I can see. Both are early works, most likely composed before Handel left Germany in 1707. The G Major opens with an exuberant quasi-improvisatory prelude typical of the spirited young Handel and continues with an allemande characterized by simple repose. This is one of a number of movements that occur throughout the set where I feel that Rowland, as he did in the earlier set, over eggs the pudding when it comes to ornamentation. Such things are, of course, always a matter of personal taste, but for me there are too many occasions when the performer strays too far from the original spirit of the music, or even too far from the melodic line. It is difficult to account for the neglect of the C Minor suite that means no other recordings are available. It is a five movement work that opens with a prelude and allemande that both include some rich harmonies, while the former also features surprising modulations. I suspect that with mean tone tuning it would sound even more remarkable.

There can be no doubt that the two sets make for a highly satisfying version of Handel’s suites, with strengths that far outweigh the weaker points, especially in the present set. And if you want to hear those impressive strengths at their most persuasive, listen to Rowland’s virtuoso performance of the magnificent and flamboyantly elevated Chaconne with which he brings this recording to a close. As the final floods of notes die away, one is simply left with a strong temptation to shout out “Bravo!”

In the best possible sense, Handel was never predictable. To take his keyboard suites as an example: whilst one lasts a mere eight minutes, the next runs to 27; movements number typically five or six, but others have as few as three; the dance forms of tradition rub shoulders with innovative preludes, sonatas and adagios. For the four-movement suite HWV 427, dances are even dispensed with altogether, whilst the finale of HWV 443 is a chaconne with an astonishing 49 variations on one of Handel’s most popular melodies.

In all, there are around 25 extant keyboard suites. Two collections were published during Handel’s lifetime, the ‘Eight Great Suites’ of 1720 and the six suites comprising the ‘Second Collection’ of 1733. The rest are known rather modestly as the ‘Miscellaneous Suites’. Dates of composition are sometimes conjecture, but range from the first decade of the 18th century to as late as 1739.

These are the first two of likely three double-disc volumes from Scottish harpsichordist Gilbert Rowland, in marvellously detailed productions from Divine Art. Rowland’s complete recording of Antonio Soler’s sonatas on 13 CDs for Naxos was rightly met with critical acclaim. This cycle is destined to find similar degrees of approbation. Handel’s music is so overwhelmingly communicative and all-round glorious that a performer of Rowland’s calibre could almost get away with playing in gloves. In fact, he combines amazingly graceful virtuosity with original filigree and huge experience to give readings that all listeners should respond to. The two-manual period replica harpsichord (1750) has a sweet, rounded sound and action that react superbly to Rowland’s texturising touch and Handel’s illuminative imagination.

Rowland’s own notes for the trilingual booklets provide a paragraph or two of good detail in limpid language on each work. Though these sets were recorded two years apart, Rowland et al have sensitively used not only the same venue but recorded at the same time of year, giving audio that is consistent as well as generally pleasing.

Those ill-advisedly intending to invest in only one volume will have to choose between turquoise and mauve – that is, on the basis of cover colour, because both items are equally excellent in all other regards. Each album ends aptly in memorable style: volume 1 with the Suite in E, HWV 430, the last movement of which throws up one of Handel’s most popular tunes, known as the ‘Harmonious Blacksmith’ (albeit not to Handel). Volume 2 meanwhile finishes with the well-known and emphatic Chaconne in G – self-evidently not a suite but published in the 1733 collection.

Some composers suffer the fate of being remembered through only a handful of their works or, indeed, just a single work. George Frideric Handel (1685-1759) was lucky in this respect. Although the general public will tend to only remember his Messiah, Water Music and Music for the Royal Fireworks, the more serious music lover will know of his many other works. Even then some of Handel’s lesser known Oratorios receive limited attention, a shortcoming of my own that I am trying to rectify by getting to hear more of them. In the second volume of Gilbert Rowland’s survey of Handel’s Suites for Harpsichord, this fine harpsichordist makes the point about these works being overshadowed by Handel’s operas, oratorios and orchestral music.

If this new release from Divine Art Recordings is anything to go by then he will certainly convert any sceptics as to the enormous quality of these suites. On this new 2CD set, Rowland plays the Suites in G minor, HWV 432, D minor HWV 437, F major HWV 427, F sharp minor HWV 431, B flat major HWV 434, G major HWV 450, C minor HWV 444, F minor HWV 433 and D minor HWV 436, as well as Handel’s Chaconne in G major HWV 435.

There is a terrific opening overture to the Suite in G minor, HWV 432, the seventh of the Eight Great Suites published in 1720, where Gilbert Rowland gives a wonderful feeling of breadth and grandeur. The Andante has some lovely two part writing, so brilliantly played with such clarity and the Allegro is beautifully done. There is a sultry sarabande , full of lovely decorative touches and a gigue with lovely rhythms. The concluding impressive passacaille makes a tremendous conclusion with Rowland providing lovely sounds as this movement progresses. His playing in this complex coda is superb.

The prelude of Handel’s Suite in D minor HWV 437 is Bach like in character. Rowland somehow manages to give such a wide ranging sound, full of lovely textures and colours, as he does in the succeeding Allamande . There is a lovely flowing courante and, in the Sarabande con variazioni we find one of Handel’s most famous tunes, expertly played. After a lively dancing Gigue the suite ends with a Sonata (or Gigue II) that bounces ahead with great rhythmic panache as well as some lovely subtleties provided by Gilbert Rowland.

The shorter Suite in F major HWV 427 opens with a sensitively played Adagio with some lovely decorations. The Allegro is full of life and sparkle and after the gentle little adagio there is a complex four part fugue (Allegro), admired by Mozart and played superbly by Rowland.

Handel’s Suite in F sharp minor HWV 431 is another of the Eight Great Suites from 1720, the sixth. After a somewhat serious prelude , the Largo continues in a similar vein with some fine playing from Rowland. The Allegro , a three part fugue, surely contains one of Handel’s finest tunes whereas the terrific Gigue borrows from the duet Happy we from Acis and Galatea.

The Suite in B flat major HWV 434 was published by Walsh in 1733 and commences with a Prelude that has a florid opening, full of freedom and breath, with Gilbert Rowland providing some lovely arpeggios. The Sonata is full of energy and fun and the concluding Aria con variazione was used by Bach in his Handel Variations and Fugue. This is a fine end to the first CD of this set with some fabulous playing.

The second CD of the set opens with Handel’s Suite G major HWV 450 and a somewhat more straightforward yet brilliant Praeludio . After a lovely allemande Gilbert Rowland brings out many hidden details in the Courante and is wonderful in the lovely Sarabande , a super piece. There is a lively little gigue with spot on phrasing and, finally, a simple menuet to conclude, with Rowland bringing many fine touches.

The Suite in C minor HWV 444 is thought to have been written before Handel left Germany. The terrific little prelude is full of harmonic shifts and the following Allemande is full of wonderful touches superbly caught by Rowland. The Courante pushes forward with much drive and the Gavotte has some lovely rhythms. In the short Menuet Rowland brings out so many lovely things in this simple ending.

The Suite in F minor HWV 433 is the last of the Eight Great Suites and opens with a lovely Prelude: Adagio before an Allegro , another great fugue, strikingly played by Rowland and full of invention. Gilbert Rowland is impressive in the two part Allamande that breaks into three part writing, so natural in Rowland’s hands. This leads naturally into the Courante before a fine Gigue to end.

The final suite on this disc is the Suite in D minor HWV 436 from the 1733 collection with a beautifully flowing allemande followed by an allegro that really pushes forward, full of fine playing. The Air: Lentement again allows Rowland to reveal so many lovely touches. In the wonderful Gigue: Presto there is so much energy and invention that one believes that the work will end, yet it is a Menuetto and three Variations that concludes the work with some fine Handel.

Handel’s wonderful Chaconne in G major HWV 435 would make a great end to this disc even if there were no reason for including it. As it is, the Chaconne was published by Walsh in the 1733 collection of Suites, thereby making this an obvious way to conclude this fine collection of performances. So full of wonderful invention, this is one of Handel’s finest keyboard works and played to perfection here by Gilbert Rowland. As it builds in complexity Rowland gives us some great playing.

It is impossible to praise this new release too highly. The harpsichord, a copy of a two manual French harpsichord after Goermans (Paris 1750), built by Andrew Wooderson in 2005, is a lovely instrument. The combination of Handel, Gilbert Rowland, Wooderson’s fine harpsichord, the recording venue at Holy Trinity Church, Weston, Hertfordshire and the recording engineer John Taylor is unbeatable providing, as it does, a collection of these wonderful suites that I will return to again and again.

When one thinks of Handel nowadays, what generally comes to mind are, first and foremost, the operas and oratorios, most of which have been or are in the process of being revived. Then there are the iconic works, such as the Fireworks and Water Music suites, as well as the inevitable large-scale sacred works, such as the Te Deums and various anthems. Even though the chamber works are somewhat less in the public ear, there is no lack of recordings of the harpsichord suites, as the reviews by many colleagues over the past several years have demonstrated. Here, harpsichordist Gilbert Rowland has continued his recording of the entire corpus of 25 suites begun with the first volume released back in 2011. This sequel brings a further nine to the disc, as well as the anomalous Chaconne in G Minor (HWV 435) published by John Walsh in 1733, but written a decade and a half earlier.

My colleague Christopher Brodersen reviewed the first volume in 2012 (35:3), noting that, while it contained some excellent interpretations, he could not give his unqualified endorsement due to the disc because of the sound. In this disc, some of the questions he raised have been resolved. The instrument is a two-manual French harpsichord based upon a 1750 Goermans Parisian model. The sound is robust and powerful, and Rowland uses every inch of the keyboards, generally with a bright and decisive attack. Having heard the Borgstede Brilliant Classics recording from 2008, I find this interpretation much more masculine and edgy. The clear, almost nasal tone of the instrument does not bother me at all, and places it well among the company of equally talented interpreters. The articulation and ornamentation in particular are precise and clear. My only quibble is that I find there to be a certain sameness in the tempos and I’m not always convinced by the phrasing.

Of course, over two hours’ worth of harpsichord solo takes a gargantuan attention span, especially since one must pay continual attention to the various subtle nuances. Thus, unless one is absolutely focused upon the instrument and Rowland’s performance, it is perhaps not a set of discs to do at one go. Even the rather more free-form movements of the Suite in F Major (HWV 427) are not entirely free from the more rigid structures, so one ought to be careful of the dosage. Still, I found much to admire in the robust performance and sometimes sensitive interpretations, such as in the Passacaille of the Suite in G Minor (HWV 432) in which Rowlands nicely builds the tension until a rousing conclusion, or in the Sarabande movement of the Suite in D Minor (HWV 437) with its mysterious variations that unfold in a stately and dignified manner.

In short, this is a worthy sequel and while the decisive performance style of Rowland may not entirely appeal to everyone’s taste, it certainly provides an alternative to any effete renditions and is worth a listen.

It is not at all easy to sort the history and chronology of Handel’s keyboard music. Many pieces may have been written in his boyhood days at Halle; others were probably used for teaching in Hamburg, when he was playing regularly in the opera house. After his Italian period, he was briefly in Germany again and then finally in England, where more harpsichord music was written, and the various pieces were organised into ‘suites’ not always with the composer’s authority .

Gilbert Rowland hazards that there are some twenty-five suites in all. For present purposes there are nine on this pair of CDs as well as a Chaconne with twenty variations. The number of movements in the suites varies from three to six. The G minor suite begins with the arrangement of a resplendent cantata overture. The succeeding Andante is a lovely contrast in its quiet lyrical beauty.

Personally I enjoy the fact that the F major Suite has no dance movements with their often irksome repeats. It is quite simply a church sonata in the Corelli manner, alternating pieces slow and fast. Moreover, the final movement is a fugue, a procedure I relish quite as much as my very late grandmother disliked it. Handel will never fugue as rigorously as Bach, as his ear is always more tuned to dramatic effect.

The B flat Aria with variations makes a lovely conclusion to the first disc.

Gilbert Rowland smiles endearingly at us on the back of the booklet, with both hands on the lower manual of his harpsichord ; but alas that I cannot discover the name of the modern instrument’s maker. [nb this is actually given in the CD bookle.t] The playing is exciting and eloquent throughout, and Rowland thoroughly understands the subtle effectiveness of Handel’s panache.