Violin Sonatas

Cedille Records CDR 90000 032 1 CD full price Recorded in 1996 North American release: 1997 UK release: 2002	Sonata in A major, Op. 1, No. 3 (HWV 361) Sonata in D minor (HWV 359a) Sonata in F major, Op. 1, No. 12 (HWV 370) Sonata in G major (HWV 358) Sonata in G minor (HWV 364a) Allegro in C minor (HWV 408) Sonata in A major (HWV 372) Andante in A minor (HWV 412) Sonata in G minor, Op. 1, No. 10 (HWV 368) Sonata in D major (HWV 371) Rachel Barton (violin) David Schrader (harpsichord) John Mark Rozendaal (violoncello) UK distributor: Metronome
Virgin Veritas 5 45554-2 1 CD full price Recorded in 2002 Released in 2003	Sonata in A major (HWV 372) Sonata in G minor (HWV 364a) Sonata in D major (HWV 371) Sonata in A major, Op. 1, No. 3 (HWV 361) Sonata in D minor (HWV 359a) Sonata in G major (HWV 358) Sonata in F major, Op. 1, No. 12 (HWV 370) Hiro Kurosaki, violin William Christie, harpsichord / organ

It seems that recordings of Handel’s violin sonatas are a bit like buses – three come along at once after having waited ages for only one. In 2001 Harmonia Mundi released a brilliant survey of the repertoire peerlessly performed by Andrew Manze and Richard Egarr. Now, hot on its heels, come two more versions, although Rachel Barton’s disc was recorded as long ago as 1996, and originally released in North America in 1997.

Barton’s playing is sweet and nimble, but not always with enough display of light and shade in order to create real lyricism. Her approach to the music is concise, and the accompaniment from David Schrader and John Mark Rozendaal is compact and stylish. Although Barton plays on a Cremonese Amati violin made in 1617, it has been modernised and she uses steel strings. This creates an odd situation because the harpsichord is a modern replica of an old instrument, and the cellist uses a cello made by Jacobus Horil in or around 1740 with gut strings. This gives rise to a delectable concluding paragraph in the booklet notes by John Mark Rozendaal: “Given this mixed approach, the listener may ask whether this is an “authentic” rendition or a “modern” one. In fact, our performances are probably more conditioned by our particular temperaments, attitudes, and training (including performance practice study) than by any of the conditions noted above. The truth is, we strive, as all artists should, to reveal beauty in the music by whatever means seem best; and that is the most important authenticity.”

This resounding good sense typifies the kind of wisdom often evident in the performances, although the refined and rather polite interpretations tend to be too even and smoothly superficial. There is inadequate contrast between the movements in each sonata, and the realistic chamber aspect of the recorded sound too often has the ambience of a Jane Austen tea party. Although each individual sonata is fine, the overall disc – though good enough – lacks variety, and does not provoke a furore.

The recital by William Christie and Hiro Kurosaki (the frequent leader of Christie’s band Les Arts Florissants) is a less complete examination of the repertoire than Barton’s, yet it is an artistically superior experience with infinitely more to say about the music. It is a testament to Christie and Kurosaki’s playing that this disc is thrilling and stimulating in its entirety. Christie’s harpsichord accompaniments are brightly inventive and demonstrate a broad canvas of sounds. Kurosaki’s violin seems to take on a life of its own, giving the music plenty of breadth and emotional variety. Unlike in Barton’s neat recital, Kurosaki and Christie immerse themselves in the music, and an abundance of wit, elegance, energy, dance, and a strong sense of rich rhetoric pervade their performances.

It is also a beautifully recorded disc with plenty of presence. In addition to quite a few breathy sounds coming from the committed performers, a resonant reverberation sounds gorgeous and allows the music to float (even if that is not what one expects from a conventional ‘chamber’ recording). Christie’s use of organ in two of the six sonatas included is unhistorical, although the absence of a cellist is not. At least the inauthentic organ creates a pretty sound, and the use of it does avoid the risk such discs have of becoming texturally monotonous. Even so, I wonder if including other pieces such as vocal cantatas with continuo accompaniment only, or perhaps some harpsichord suites, can avoid such tedium in a more satisfying manner. It would certainly be more historically appropriate to present these sonatas alongside other mixed works. Yet even though 2003 has only just begun, such imaginative and fresh playing will certainly make this recital one of my favourite Handel discs of the year.

Barton :
Kurosaki :

© David Vickers - January 2003