Handel: Keyboard Suite, HWV 427 in F major (Suite de pièce Vol. 1 No. 2)

Multiple award-winning Dutch pianist, Daria van den Bercken, displays her exceptional talent and passion for Handel’s keyboard music with her debut album on Sony Classical.

Her project, ‘Handel at the Piano’ is aimed at familiarising a worldwide audience with the keyboard works of George Frideric Handel. Daria recently addressed the TEDx Conference in Amsterdam on the subject of first reactions to music, particularly Handel, where she argued that creating opportunities is part of the musician’s work.

Daria is known for her innovative and unusual performance spaces, which include impromptu concerts in her home, performing in South America suspended from a crane above the audience, and being towed through the cobbled streets of Amsterdam while seated at a piano.

She has appeared as a guest on ‘Pauw & Witteman’, a Dutch late-night talkshow, to perform and discuss ‘Handel at the Piano’ to a 1.3 million viewers.

Daria has performed with the Rotterdam Philharmonic Orchestra, Arnhem Philharmonic Orchestra Radio Philharmonic Orchestra, Christoph Poppet, JoAnn Falletta, Ivan Meylemans and Shi-Yeon Shung and has studied with Murray Perahia and Leon Fleisher among many notable pianists.

ECM New Series debut for the exceptional Russian-born pianist Lisa Smirnova, playing Handel’s Eight Great Suites (1720), also known as “The Eight London Suites” or “Suites de Pièces pour le Clavecin” – by any name, major pieces in the keyboard literature. Outstanding artists from Glenn Gould to Keith Jarrett have been drawn to these suites, but there are very few recordings of all eight, either on piano or harpsichord, currently on the market. Smirnova opts for the modern piano. She had been working rigorously on the Suites for five years prior to undertaking this recording, making many discoveries.

The 1720 edition of Suites – HWV 426-433 – is considered by many the most important collection of Handel’s early works. Published by the composer himself, it includes works from both his Hamburg and English periods, all extensively revised by the composer, right through the printing process.

Educated at Moscow’s Tchaikovsky Conservatory, the Salzburg Mozarteum, and with Maria Curcio and Robert Levin, Smirnova (born in Moscow, currently living in Austria) burst onto the classical scene in 1992 with a well-received debut at Carnegie Hall when she was only 20. In 1993, she received the Brahms Prize at the Schleswig-Holstein Music Festival, the first pianist ever to be honoured with this award, and her concert activities have extended to international concert podia in Europe, Asia and the USA. She has a long relationship with the Far East – since 2007 she has been Artistic Director of the Nagasaki-Ojika International Music Festival.

Smirnova’s repertoire extends across the centuries – she has collaborated with contemporary composers including Kancheli, Silvestrov and Rihm, and won international awards for her recordings of Bach on MDG. Other widely-praised recordings include her account of Bloch’s works for viola and piano with Daniel Raiskin, on BMG/Arte Nova.

The Russian pianist Dina Ugorskaja has studied singing, specialising in early music, and has also composed. Her family left Russia in 1990 and Urgorskaja is now based in Munich. She has performed at many festivals and has collaborated with conductors such as Jurowski. Her piano repertoire spans a wide range from the Baroque to contemporary and chamber music.

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.

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.

Handel’s keyboard suites may be among his lesser-known works, but the so-called ‘Eight Great Suites’ of 1720 are true masterpieces of the genre.

This volume, containing the first four, showcases his extraordinary versatility, imagination and contrapuntal skill, as well as his willingness to break with tradition.

Handel skilfully weaves together a wide range of forms, including fugues, a toccata, Italianate airs and Baroque dances.

This programme, recorded in May 2009, spans the Baroque and Classical periods and features suites and sonatas by three of the supreme composers who celebrate significant anniversaries in 2009: Purcell, Haydn and Handel.

In Trevor Pinnock’s words: “Initially the idea of marrying these three composers seemed crazy. But then I realised the connections. How much Handel was influenced by Purcell, incorporating Purcellian progressions in his music. And how much Haydn had been influenced by Handel. I saw the link from Purcell’s choral music to Handel’s oratorios, which in turn inspired Haydn to produce ‘The Creation’ and ‘The Seasons’. But what tipped the balance for me was that story of Haydn, when in London, accompanying a song on the pianoforte by Purcell, and saying proudly that he did it all by himself. I found it fascinating that he’d actually touched music by Purcell in 1790 - and that he’d found it very difficult. As a musician, I could feel for him”

“Once in a while a reviewer receives a record that strikes him as being so exactly right that, without switching off his critical faculties, he finds himself just sitting back and enjoying it. In an ideal world this would doubtless always be so; but I must thank Trevor Pinnock … for this particular contribution to my personal Utopia” Gramophone Magazine