Handel: Keyboard Suite, HWV 438 in E minor (Suite de pièce Vol. 2 No. 5)

Handel has the reputation of a free thinker regarding the composition of his suites. His keyboard works combine a formal freedom with a rhetorical mastery in a way that undoubtedly reflects his improvisatory gifts, for which he was famous. The music in these pieces is very lively in its invention, and exhibits an enthusiasm in allying the structure with very different styles. The large-scale works of 1720, all completely different from one another, are a synthesis inspired by elements of the German and Italian styles. He seems to have had little interest in the form of the suite per se. Formal unity is most often achieved through common thematic use.

The diverse origins of the music make the collection of suites a microcosm of Handel’s eclectic style. Following his highly acclaimed recording of the Johann Mattheson harpsichord suites, Cristiano Holtz presents a splendid interpretation of the Handel suites.

Handel’s solo keyboard music has for too long been overshadowed by his operas, oratorios, and orchestral music. This comparative neglect seems unjust in view of the considerably large quantity of keyboard music which exists amongst his massive output.

Handel was one of the first composers to free the keyboard suite from the formal constraints of Allemande, Courante, Sarabande, Gigue frequently used by German composers of the seventeenth and early eighteenth century, such as Froberger.

Gilbert Rowland first studied the harpsichord with Millicent Silver. Whilst still a student at the Royal College of Music, he made his debut at Fenton House 1970 and first appeared at the Wigmore Hall in 1973.

His mentors have included Kenneth Gilbert and Fernando Valenti. Recitals at the Wigmore Hall and Purcell Room, appearances at major festivals in this country and abroad, together with broadcasts for Capital Radio and Radio 3 have helped to establish his reputation as one of Britain's leading harpsichordists.

His numerous records of works by Scarlatti, Soler, Rameau and Fischer have received considerable acclaim from the national press. The recording of the 13-CD set of Soler sonatas with Naxos was completed in 2006. He also recorded a CD of Sonatas by Albero for London Independent Records two years ago, which was released in 2009. This is his first recording for Divine Art.

Racha Arodachy combines the virtuoso’s unrivalled power and the poet’s generous musicality, making her one of the most engaging artists of our time.

Ragna Schirmer plays the 1720 and 1733 keyboard suites on a modern concert grand piano.

"All these finely recorded performances are models of musical grace and resilience." Gramophone July 2008

Handel’s harpsichord music may have languished in the shadow of Bach’s more famed mastery of the instrument, but as these new recordings and scholarly notes by Michael Borgstede show, such comparisons are invidious. Handel was known as a superb keyboard player, and these dance suites exploit the expressive and technical resources of his instrument with no less mastery than that of his Leipzig counterpart, and with a joie de vivre that makes listening a constant diversion and delight. There are very few rival sets of this music on record, and Borgstede has made an important contribution to what will be the worldwide celebrations to mark the 250th anniversary of Handel’s death in 2009.

Recorded in 2008.

Extensive booklet notes by the performer.

Scott Ross "Exemplary style … a fine set" Penguin Guide 2008