This new release makes a uniquely interesting choice: instead of recording a Baroque instrument, the two performers play the Rieger organ in Vienna’s Musikverein. There is, of course, nothing wrong with using an instrument of this size (81 stops), and the registrations used by both organists are, for the most part, convincingly Baroque. Nevertheless, the instrument has a tonal splendor and weight that is surely different from what Handel had at his disposal. Its weightiness of sound is unlike what is heard in the Koopman, Preston and Egarr recordings. Moreover, the 20-plus players of the Wiener Akademie have a more fulsome sound compared to the orchestras in those older recordings. This is not meant as a criticism, merely an acknowledgment that the sound of this recording is distinctive. Overall, I did find more supple phrasing and heterogenous color from Pinnock’s English Concert and Koopman’s Amsterdam Baroque Orchestra. But both those recordings are more small-scale and intimate in character than what is on offer here.
Most, if not all, of Handel’s organ concertos were written to entertain during the intermissions of his oratorio performances. They reveal superb craftsmanship and plenty of opportunity for the soloist to showcase his or her virtuosity. The excellent liner notes, written by both organists Martin Haselböck and Jeremy Joseph, stress Handel’s reputation as an organist whose talent was the equal of Bach – certainly the difficulty of these concertos backs up that claim. This music is consistently inventive and life-affirming, its quick outer movements never far away from dance, while the slow inner movements give the player numerous opportunities to add embellishment and ornamentation.
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Both organists choose registrations that take advantage of the larger tonal palette at their disposal. Playing is precise, and contrapuntal writing is played with clarity. They approach this music seriously, though in Haselböck’s case some of his interpretations are a bit severe. He plays the opus 4 set, and there is often a literalness of phrasing that robs the music of its playfulness. A good example of this is heard in the final Allegro of the fifth concerto. His tempo is fast but not hectic, and the music’s many melismatic runs and registration changes are masterfully managed. But turn to Egarr (accompanied by the Academy of Ancient Music on Harmonia Mundi) and one hears a buoyancy and joy de vivre that breathes life and light into every phrase. And Egarr’s many embellishments add a sense of spontaneity that makes Haselböck’s readings seem overly earnest and literal by comparison.
Joseph’s playing is more uniformly impressive. His registration for the opening movement of Opus 7’s first concerto utilizes the organ’s reed stops, and his playing has an infectious energy. While some of his registrations may go beyond what might be considered “authentic”, they are always musically convincing. He also allows himself greater flexibility of phrasing, especially in slow movements, where his added embellishments are thoroughly convincing.
Alpha’s ancillary materials are excellent. The recording itself is very fine, beautifully capturing the warmth and lucidity of the famed hall. Made in January 2021, Alpha were obviously intent on releasing this as soon as possible. This is the only recording I know that manages to include both complete sets of concertos (as well as the famous “Cuckoo and the Nightingale” Concerto in F Major, HWV 295) on two well filled (over 80 minutes) CDs. While the Koopman and Preston sets take an additional CD, they should be available at a price similar to this new release. While I cannot make this a primary recommendation, it is a stimulating and enjoyable release that should find many admirers.
Handel – Organ Concertos Op. 4, Op. 7,
Concerto No.13 in F Major, Hwv 295 ‘The Cuckoo and the Nightingale’
Martin Haselböck – Organ (Op. 4, No. 13) & Conductor
Jeremy Joseph – Organ (Op. 7)
Wiener Akademie
Alphe Classics, CD 742
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