Handel Op. 6 Concertos
Handel’s set of 12 concerti grossi have been well-represented in the catalog. It’s understandable as to why; in a sense these are his mirror contributions to compare to those also cataloged as opus 6 by Arcangelo Corelli. As concerti grossi, it speaks to the opportunities within the texture for the lead string players to emerge above the thickness of the whole-ensemble string texture. I don’t think it’s wrong to play these with some Italian flair, in that the models upon which they’re based are more Italian than anything else. They are also not alone: many composers wrote for string ensembles without winds. As we might expect, even when Handel is pulling themes from earlier works, that the resulting set is well-wrought.
Two landmark recordings that I’ve counted upon as favorites ahead of this release are those by El Ayre Español and Il Giardino Armonico. The better comparison here might be the one by Il Giardino Armonico, another Italian ensemble. Although diving headfirst into marketing, the album cover for this production led by Ottavio Dantone seems more apt for the one directed by Giovanni Antonini. Antonini’s recording (IGA) was somewhat polarizing: his strong hand at a post-historical interpretation with heavy shaping to his ensemble’s phrasing and bombastic dynamic contrasts was not appreciated by all, if I remember correctly when it came out. For me the approach was fresh and bold and I really listened to that recording a lot.
Which is all to say that this new release by Accademia Bizantina is not as heavily edited and over-interpreted as the one by IGA. It does offer a very clear recording with a lot of detail from the front of the orchestra through the strings and highlighting, some, the colors of the continuo, represented here by plucked strings, harpsichord, and organ, which I think is apt with Handel’s use of organs in his performances in London. My overall impression at sampling a number of tracks at first listen is that many will consider this new recording the new reference. The interpretation is ripe with a lot of dynamic contrasts and very smart tempo choices; the separation of first and second violins on left and right is my personal preference for hearing the stereo effects Handel writes into the music; the richness of the continuo brings real gravitas to the sound and is varied between the softer, more tender phrases and the full-bore faster movements.
Concerto no. 12 in B minor
Marked Largo, the opening has the flavor of an overture with its use of dotted rhythms. The phrasing with the violins is well done, between the solo exchanges and those that pull in the full ensemble. The second movement is wrought in a delicious trio texture. It’s representative of some of Handel’s better writing. The phrases he’s wrought act as question and answers and the compliment between the two propels the energy forward. Tampieri plays with strong precision and consistent dynamic energy in his solos. The second violin, who I presume is Ana Liz Ojeda, returns his gestures in the same tone and grace.
The Largo before the final movement mimics music from the theater, that which we’d hear as the stage is prepared for the next big aria. Which in this case is a contrapuntal movement, which seems like a requirement for an Italian-style work. The gigue-like motif is perpetual. The way Handel brings the theme around the ensemble brilliantly shows off the orchestra’s variation in color based on placement in the hall and which grouping takes the theme. I can’t imagine it being played with any more polish than here by AB.
Concerto no. 1 in G major
As the opening to the set and to the album, the secco treatment of the opening theme, played here quietly, is certain to arrest anyone’s attention who is familiar with this music. Dantone capitalizes on dynamic contrasts, but again, not to the degree employed by IGA with Antonini.
The second movement takes off with plenty of energy but AB make the whole thing sound a little more relaxed. The well-placed accents differentiate this performance from others that, for me, compliment the music in a believable way, at least in the context of historically-informed practice. This is pure conjecture, but modern-day Italian ensembles are known for injecting what I might otherwise call “flair” into their phrasing; I am thinking here of some of Fabio Biondi’s treatment in the Corelli opus 6 concerti grossi. The accents which are even bolder in some of his Vivaldi aren’t in the score, yet, they serve a modern audience to shake off the dust. My point is that this first concerto reveals a desire to affect the audience within a stylistic frame that doesn’t reek of skyscrapers, bright OLED televisions, and rock concerts that require ear protection. The ensemble instead projects what I’d like to call smart style. They are catering to a modern audience that might not totally blow the wig off Mr. Handel, should he ever have the opportunity to time travel to modern-day Ravenna.
Final Analysis
I can safely say that AB were wll-rehearsed and got into the details with Handel’s opus 6. Dantone’s direction and consistent attention to detail has made one of the consistently well-played and detail-oriented renditions to date of Handel’s concerti grossi. His own contributions on the harpsichord in the second concerto are tongue-in-cheek; made me think Mr. Handel might be at the cembalo. This is not to say I think others shouldn’t forge with their own recordings in the future, or that I won’t go back to my favorites of yesterday. But as far as references go, this will be the very high bar others will want to be compared. I should have liked to have the ensemble hear me yell Bravo! at the end of several concertos.
