Handel: Sonata in G minor for violin or oboe and continuo, HWV364a, Op. 1 No. 6

Riccardo Minasi, born in Rome in 1978, has performed both as soloist as well as concert-master with many important orchestras. Riccardo Minasi is a conductor and a musicologist as well as a leading violinist in the early music field. His critical edition of Vincenzo Bellini’s opera “Norma” has been used for the recording of the work with Cecilia Bartoli and Giovanni Antonini.

Musica Antiqua Roma, founded in 2007 by violinist Riccardo Minasi, unites the solo, chamber music and orchestral experiences of some of the most active young musicians on the international scene today. Besides Riccardo Minasi the ensemble is formed by Marco Ceccato (cello), Giulia Nuti (harpsichord) and Luca Piancha (archlute).

This collection represents a selection of Handel's most popular violin sonatas. The eight sonatas recorded here span more than four decades and bear witness to Handel’s broad stylistic range. They all contain wonderful music and have been loved by players and listeners since they were written. Six are well known. Two are unfamiliar, and the second of these, in G major, is quite unlike all the others: two brilliant fast movements separated by a brief, highly dramatic slow recitative. The rest are cast in the customary four-movement form, but they still have extraordinary diversity; no two of them sound alike.

Since the musicians have a strong relation to Italy (“Musica Antiqua Roma”) and since Handel’s sonatas are very much influenced by Italien composers of the Baroque period, the artwork is based on works of the famous Italian photographer Mario Giacomelli.

The coupling of the sonatas on this recording is unique, and the 28-page booklet has elaborate liner notes in English, French, German and Italian.

As a bonus extra, the ‘hidden track’ “Credete al mio dolore” (from the opera “Alcina”, arranged for violin by Riccardo Minasi) has been included.

Handel wrote the solo sonatas of Opus 1 for the professional musicians of his London opera orchestra.They demand considerable skill and stamina both from the soloist and the continuo. Prominent bass parts give the sonatas a contrapuntal strength and vitality, and Handel keeps the elements of display and purely musical argument in admirable balance in these works. For this reason, they are among the most attractive Baroque solo sonatas and deserve their lasting popularity. Played here by members of the Academy of Ancient Music under the leadership of Richard Egarr, Handel's delightful sonatas are shown to be true masterpieces written by a composer at the height of his powers.

Handel’s violin sonatas have been staples of the repertoire for generations, but there has been considerable confusion about their authenticity. Early editorial practice saw to it that several authentic works were published for instruments such as flute and oboe, but more recent scholarship has established that originally they were written for the violin. All the sonatas are full of Handel’s dashing bravura and his gift for expressive slow movements, providing a series of beautifully proportioned masterpieces. Ariadne Daskalakis’s recording of the Tartini Violin Concertos (8570222) was welcomed with acclaim for its ‘grace and lyrical poetry’. (MusicWeb International)