Compared to J.S. Bach’s various
Suites
and other masterpieces, Handel’s keyboard works don’t get
nearly as much attention from pianists and record labels. There are
a few good recordings around however, and newcomers will have to compete
with the likes of Lisa Smirnova on ECM (see
review),
though the majority have been recorded on harpsichord. You will know
from your own collection if this release is the answer to a gap which
needs filling, but this is a superb recording which stands on its own
terms, even if you already have some or all of this repertoire.
Daria van den Bercken is an excellent ambassador for good music in the
Netherlands and beyond, performing regularly for children and in “unusual
and surprising places”, and communicating with straightforward
honesty and passion about music. This Handel programme is at least in
part the result of a project called Handel at the Piano, and more information
about this and van den Bercken’s approach to these pieces can
be seen
here.
The results are distinctively Handel as well as being personal and warmly
expressed, the Bösendorfer instrument being one of fine tone and
singing, sunny disposition, as well as having that rich range of fundaments
and harmonics which make it a more musical and less showy choice for
many pianists over your typical Steinway. There is spark and energy
in movements such as the famous
Presto which concludes the
Suite
in D minor, HWV 428. The more contemplative movements and passages
are given a special atmosphere, the sheer simplicity of the opening
Adagio from the
Suite in F major, HWV 427 unspoilt by
added layers of unwarranted profundity. This is an aspect of these pieces
which both van den Bercken and Lisa Smirnova have absorbed, and I like
both pretty much in equal measure, though Smirnova tends more towards
the romantic in her interpretations. Van den Bercken allows these
Adagio
movements to work as moments of musing reflection, but the feeling of
intent is also well maintained. There’s a core of structural wood
and steel all over the place which makes everything hang together with
irresistible and weather-proof strength, allowing expressive freedoms
and poetic emotiveness to form the pinnacles of each creation.
Ornamentation is fairly restrained, though there is a decent amount
of tasteful trilling, and musical conversations such as the
Andante
of the
Suite in G minor, HWV 432 create interesting character
and textural interest without going too far over the French border.
The
Sarabande from this suite is sublime, with a palpable freshness
of daylight between the notes both here and in the following
Gigue.
There are some terrific extras added on to the three
Suites,
with the spectacular little
Capriccio, HWV 467 a gem which acts
as foil to the restrained undulations of the final
Allemande
by Mozart. This unequal sandwich is filled by a magnificent rendition
of the
Chaconne, HWV 467 and the meltingly charming
Menuet
in G minor, WHV434/4.
Put simply, this is a delicious disc to have around, and I look forward
greatly to hearing very much more from Daria van den Bercken and this
fine production team.
Dominy Clements
