Several of the other versions of this Handelian staple come as double-CD albums, and others have been single discs of the first six of the concerti, followed shortly or at the same time by the second disc of the remaining half dozen. The present situation is unique in that the first six of Opus 6 by the Boston Baroque came out on Telarc way back in 1992, and only now are we getting the rest of the set on a second single CD. The wait – especially if you don’t already have another set of the whole thing – was worth it.
Handel’s publisher in London saw an opportunity for both of them to make a buck off the popularity in England of the concertos of Corelli and Geminiani. He urged Handel to compose a set of his own. Handel also saw the advantage of having some new instrumental works which could be performed during the intermissions in performances of his oratorios. The composer had been playing and enjoying both the first set of Domenico Scarlatti’s famous harpsichord sonatas, and Gottlieb Muffat’s Componimenti musicali. Hints of and even direct quotes from these works show up in some of Handel’s Concerti Grossi. He also reworked some of his earlier works in the concertos, including one he has just completed: Ode for St. Cecilia’s Day. You’ll even hear one or two movements that sound like part of Messiah.
Boston Baroque, based at Boston University, is a period instrument ensemble, but I didn’t hear any of the screechiness or thin sound often associated with the period purists. The group has a rich and sumptuous sound, with more support in the deep bass than the competition. I compared the version by the conductor-less Orpheus Chamber Orchestra on DGG and the Academy of Ancient Music led by Andrew Manze on HM. The former, having been released before the ability to cram up to 80 minutes on a CD, is spread over three CDs. It is also a rich and sprightly version. The Manze HM set is more laid back than the other two, sounding almost a bit draggy even though it adopts a faster tempo on some sections.
One perk with the Telarc set is that it is the only one of the three employing an organ instead of harpsichord on certain of the movements, usually the slow ones. That seems to work much better at slow tempi than the harpsichord, which cannot sustain. It also adds to the bass extension and gives a more wide-range sound. It’s a testament to Telarc’s continuing high standards that there is very little sonic difference between the 15-year-old CD and the new release.
– John Sunier
