Handel: Keyboard Suite, HWV 434 in B flat major (Suite de pièce Vol. 2 No. 1)

Swiss pianist Francesco Piemontesi, still only 27, is one of the most sought after young artists of his generation. In 2009 he was awarded a fellowship of the Borletti-Buitoni Trust and was invited to join the BBC ‘New Generation Artists’ scheme. This recital beginning with Handel’s Suite in B flat shows his superb sonority.

The art of transcription has been a part of the history of keyboard instruments since the Renaissance period, a time that saw the first publishing of sacred as well as secular vocal works. In the 19th century, however, the trend entered its golden age, thus satisfying the domestic music-making appetite of the bourgeoisie across Europe and reflecting technological advances in mechanisms such as the organ. This release is dedicated towards this king of instruments, whose expansion into concert-like proportions allowed the music of Handel to flourish in particular.

The recording is based on a selection of the Baroque composer's most famous works, arranged by some of the 19th century's greatest organ virtuosos. As well as W.T. Best, who gave about 100 recitals a year for 40 years and who published two great collections -- of which Handel's Choruses, selected and arranged for the Organ is included here -- there features transcriptions by the likes of George C. Martin (organist of St Paul's Cathedral), F.C. Woods, Théodore Dubois (organist at the Madeleine in Paris) and Alexandre Guilmant (organist of Saint-Trinité in paris and a noted concert performer). The two symphonies of Saul, Zadok the Priest and excerpts from the Messiah are just some of the works contained on this engaging release.

Performed by Massimo Gabba at the Mascioni organ of the Church of San Giovanni Evangelista in Alessandri (Italy), Romantic Organ Transcriptions details a fascinating area of 19th-century music-making and exposes the predilection for all things Baroque at that time. Gabba explores the full gamut of the instrument, revealing the immense variety of timbres and characteristic grandeur that the organ came to attain during the 1800s.

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.

There are about 25 suites as well as numerous other single pieces including Fugues, Chaconnes, Fantasias, Preludes and individual dance movements. Amongst the suites there were two collections which were published in Handel’s lifetime. The “Eight Great Suites” first appeared in print in 1720 followed by a further six in 1733, often referred to as “The Second Collection”. There are also a number of “miscellaneous” suites.

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.

This CD features a selection of youthful works by Handel, most of which are taken from a manuscript housed at the Darmstadt library, known as the Darmstadt Harpsichord Book. Geneviève Soly is one of the central figures in baroque music in Quebec. Her recordings of Graupner’s music were hailed by critics and her exceptional work as a performer and musicologist has been unanimously acknowledged.